


IFMLAM musical, round 2

by thatqrfanficcer



Category: Hamilton - Miranda
Genre: Alternate History, Alternate Timelines, F/M, Gen, M/M, Multi, Seers
Language: English
Status: Completed
Published: 2019-03-30
Updated: 2019-03-19
Packaged: 2019-11-24 21:10:47
Rating: Not Rated
Warnings: Major Character Death
Chapters: 2
Words: 31,537
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/18169913
Author URL: https://archiveofourown.org/users/thatqrfanficcer/pseuds/thatqrfanficcer
Summary: Musical based on the events of timeline 2 init feels more like a memoryby savrenim. Spoilers up to chapter 27.NOTE: Canonically, the 2nd musical goes likethis. This started out as just an exercise for myself to see if I could take the songs (and cut songs) that are out there and play with them until it fit the storyline, so while I did use the post as a rough guideline where I could, this doesn't fit the 2nd timeline "canon" version of the musical exactly, but I did my best to follow the events and I'm proud of how it turned out.





	1. Act One

**Author's Note:**

  * Inspired by [it feels more like a memory](https://archiveofourown.org/works/5456225) by [savrenim](https://archiveofourown.org/users/savrenim/pseuds/savrenim). 



> Okay, so! This was mainly self-indulgent, I did NOT expect this to become a full-on written-out version of the musical, but whoops, turns out I got a little more obsessed with this project than I expected.
> 
> There are certain songs where I just straight-up rearranged where things are supposed to be within the song or added things? But hopefully it all still makes sense.
> 
> I'm posting all of the lyrics, even when I don't make very many changes (although some of the same lyrics end up changing the meaning), so I have a code to make things simpler:  
> \- no star = few or no changes. Changes are bolded so you can skip to those if you want, if there's nothing different I'll tell you.  
> \- * = some significant changes, mostly still recognizable. Changes not bolded.  
> \- ** = HUGE significant changes (like if most of the lyrics are different) or rearranges. Changes not bolded. (YMMV on what qualifies, but I went with my best judgment)
> 
> Also:  
> * I changed the titles of a few songs-- changing the title automatically warrants at least one star (since the reason is usually the song/purpose of the song is different enough that I needed to)  
> * Sometimes I will bold a transition between lyrics that haven't changed-- because I'm emphasizing what _isn't_ there  
> * Sometimes a lyric doesn't change but the person saying it does, so I'll bold a person's name
> 
> Underlining will be done occasionally in order to show where the emphasis is, mostly as a note to myself so I can remember.
> 
> Also if the author is reading this, hi! You don't know me, but I love your work! I hope you like this. :)

A few final things:

  1. Double-casting may or may not be a thing in this 'verse.  Jefferson and Madison both appear briefly in Act One, Laurens doesn't die, and he and Laf, Herc, Jefferson, AND Madison all appear in  _Who Lives, Who Dies, Who Tells Your Story_ in Act Two.  (But in my head, they're still played by those actors, mostly because I can't really picture it differently.)  Just something to keep in mind before we begin.


  1. The further in we go, the more changes there are.



 

DISCLAIMER: I have not seen the show apart from a few clips.  BUT I do have certain blocking/lighting in mind for certain scenes, and I will mention them as we go)

 

** 1\. "What's Your Name, Man?" * **

("Alexander Hamilton")

 

(Basically Hamilton and Burr are paralleled a lot here, you see them both acting out their respective backstories as they're being narrated.  Also, it's choreographed/blocked so that Hamilton and Burr make all these crosses, but kept missing each other)

 

_HAMILTON:_

_How does a bastard, orphan, son of a whore and a_

_Scotsman, dropped in the middle of a forgotten_

_Spot in the Caribbean, growing up in poverty and fear_

_Become intertwined with America's seer?_

 

 _Aaron Burr_ _was an orphan born into fortune,_

_Grew up a lot richer, grew up with re ligion _

_But_ _within_ _him was a rare unheard-of gift to see_

 _More_ _than anyone be fore with his ability_

_But with great power comes great responsibility_

 

_JEFFERSON:_

_And every day while slaves were bein' slaughtered and carted_

_Away across the waves, Burr struggled and kept his guard up_

_Inside, he was longin' for somethin' to be a part of,_

_Did he know then that he would end up a martyr?_

 

_MADISON:_

_Then a hurricane down in the Caribbean reigned_

(Gestures to HAMILTON, who is acting this out)

_And this man saw his future drip, drippin' down the drain_

_Put a pencil to his temple, connected it to his brain_

_And he wrote his first refrain, a testament to his pain_

 

_BURR:_

_Well, the word got around, they said, "This kid is insane, man!"_

_Took up a collection just to send him to the mainland_

_"Get your education, don't forget from whence you came_

_And the world's gonna know your name!_

_What's your name, man?!"_

 

_HAMILTON:_

_Alexander Hamilton._

_My name is Alexander Hamilton._

_And there's a million things I haven't done,_

_But just you wait, just you wait_

 

_ELIZA:_

_When he was ten, his father split, full of it, debt-ridden_

_Two years later, see Alex and his mother bedridden_

_Half-dead, sittin' in their own sick, the scent thick_

 

 _FULL COMPANY EXCEPT HAMILTON:_ (whispering)

_And Alex got better but his mother went quick_

 

(sung in the same key as ELIZA before, with the rhythm WASHINGTON sings in the original)

_ANGELICA:_

_Aaron moved in with his grandparents, his grandparents died as well_

_Was sent to school with his sister Sally Burr, all he had was her until_

_She got hitched, moved to Litchfield, and then_

_Aaron Burr ne ver heard from his big sister again_

 

_HAMILTON:_

_But Burr's loneliness and mis'ry were no match for his ambition_

_At thirteen years old, he petitioned to be at Princeton,_

_He was smaller than his peers, but our scholar was on a mission_

_Graduated in two years, the Seer beat all his competition_

 

_BURR:_

_Hamilton_ _read every book he could get his hands on_

_Had a plan for the future, see him now as he stands on_

_The bow of a ship, headed for a new land_

_In New York you can be a new man_

 

_COMPANY:                                                                                 HAMILTON:_

_In New York, you can be a new man                                           Just you wait_

_(x2)_

_COMPANY:_

_In New York, you can be a new man_

_In New York, New York_

 

_HAMILTON:_

_Just you wait!_

 

_BURR:_

_Alexander Hamilton_

_(COMPANY echoes: Alexander Hamilton)_

_I was waiting in the wings for you_

_You could never back down,_

_+COMPANY:_

_You never learned to take your time_

 

_COMPANY:_

_Ohhhh_

 

_HAMILTON:_

_They sing your praises, Aaron Burr,_

_But when_

_+COMPANY:_

_America sings for you_

 

_HAMILTON:_

_Will they know what you overcame?_

_Will they know you rewrote the game?_

_+COMPANY:_

_The world will never be the same_

_Ohhh_

 

(to the tune of "Alexander Hamilton")

_HAMILTON: Aaron Burr-                        BURR: Hamilton_

 

_HAMILTON + BURR:_

_You were my dearest friend, you were one in a million_

 

_HAMILTON:_

_He always feared his fate, I was ready and willin'_

_They all say Burr's the hero, they all paint me as his villain_

 

_MADISON/JEFFERSON (+Laf/Herc if double-cast):_

_We fought with them._

 

_LAURENS (+Laf/Herc if NOT double-cast)/WASHINGTON:_

_We helped them win/They helped me win._

 

_ANGELICA:_

_Me, I distrusted them._

 

_PHILIP:_

_Me, I died for them._

 

_ELIZA:_

_Me, I loved them._

 

_HAMILTON:_

_But me?  My damn foolishness killed him._

 

_COMPANY:_

_There's a million things I haven't done, but just you wait_

 

_BURR:_

_What's your name, man?_

 

_COMPANY:_

_Alexander Hamilton!_

 

** 2\. "Aaron Burr, Sir" **

(minor change towards the end)

 

_COMPANY:_

_1776._

_New York City._

 

_HAMILTON:_

_Pardon me. Are you Aaron Burr, sir?_

_BURR:_

_That depends. Who’s asking?_

_HAMILTON:_

_Oh, well, sure, sir_

_I’m Alexander Hamilton, I’m at your service, sir_

_I have been looking for you_

_BURR:_

_I’m getting nervous_

_HAMILTON:_

_Sir…_

_I heard your name at Princeton. I was seeking an accelerated course of study when I got sort of out of sorts with a buddy of yours. I may have punched him. It’s a blur, sir. He handles the financials?_

_BURR:_

_You punched the bursar?_

_HAMILTON:_

_Yes!_

_I wanted to do what you did. Graduate in two, then join the revolution. He looked at me like I was stupid, I’m not stupid_

 

_So how’d you do it? How’d you graduate so fast?_

_BURR:_

_It was my parents’ dying wish before they passed_

_HAMILTON:_

_You’re an orphan. Of course! I’m an orphan_

_God, I wish there was a war!_

_Then we could prove that we’re worth more_

_Than anyone bargained for…_

_BURR:_

_Can I buy you a drink?_

_HAMILTON:_

_That would be nice_

_BURR:_

_While we’re talking, let me offer you some free advice_

_Talk less_

_HAMILTON:_

_What?_

_BURR:_

_Smile more_

_HAMILTON:_

_Ha_

_BURR:_

_Don’t let them know what you’re against or what you’re for_

_HAMILTON:_

_You can’t be serious_

_BURR:_

_You wanna get ahead?_

_HAMILTON:_

_Yes_

_BURR:_

_Fools who run their mouths off wind up dead_

_LAURENS:_

_Yo yo yo yo yo!_

_What time is it?_

_**LAURENS/LAFAYETTE/MULLIGAN:** _

_**Show time!** _

__

_**LAURENS:** _

_**Show time! Show time! Yo!** _

_I’m John Laurens in the place to be!_

_Two pints o’ Sam Adams, but I’m workin’ on three, uh!_

_Those redcoats don’t want it with me!_

_Cuz I will pop chick-a pop these cops till I’m free!_

_LAFAYETTE:_

_Oui oui, mon ami, je m’appelle Lafayette!_

_The Lancelot of the revolutionary set!_

_I came from afar just to say “Bonsoir!”_

_Tell the King “Casse toi!” Who’s the best?_

_C’est moi!_

_MULLIGAN:_

_Brrrah brraaah! I am Hercules Mulligan_

_Up in it, lovin’ it, yes I heard ya mother said “Come again?”_

_LAFAYETTE & LAURENS:_

_Ayyyyy_

_MULLIGAN:_

_Lock up ya daughters and horses, of course_

_It’s hard to have intercourse over four sets of corsets…_

_LAFAYETTE:_

_Wow_

_LAURENS:_

_No more sex, pour me another brew, son!_

_Let’s raise a couple more…_

_LAURENS/LAFAYETTE/MULLIGAN:_

_To the revolution!_

_LAURENS:_

_Well, if it ain’t the prodigy of Princeton college!_

_MULLIGAN:_

_Aaron Burr!_

_LAURENS:_

_Give us a verse, drop some knowledge!_

_BURR:_

_**Good luck, good sir, but I’ll be playing it safe** _

_**See, I’d prefer to make it past the British guards unscathed** _

_LAFAYETTE/MULLIGAN:_

_Boooo!_

_LAURENS:_

_Burr, the revolution’s imminent. What do you stall for?_

_HAMILTON:_

_If you stand for nothing, Burr, what’ll you fall for?_

_MULLIGAN/LAFAYETTE/LAURENS:_

_Ooh_

_Who you?_

_Who you?_

_Who are you?_

_Ooh, who is this kid? What’s he gonna do?_

 

** 3\. "My Shot" **

(some pretty important changes in the middle, mostly regarding Burr)

 

_HAMILTON:_

_I am not throwing away my shot!_

_I am not throwing away my shot!_

_Hey yo, I’m just like my country_

_I’m young, scrappy and hungry_

_And I’m not throwing away my shot!_

_I’m ‘a get a scholarship to King’s College_

_I prob’ly shouldn’t brag, but dag, I amaze and astonish_

_The problem is I got a lot of brains but no polish_

_I gotta holler just to be heard_

_With every word, I drop knowledge!_

_I’m a diamond in the rough, a shiny piece of coal_

_Tryin’ to reach my goal. My power of speech: unimpeachable_

_Only nineteen but my mind is older_

_These New York City streets get colder, I shoulder_

_Ev’ry burden, ev’ry disadvantage_

_I have learned to manage, I don’t have a gun to brandish_

_I walk these streets famished_

_The plan is to fan this spark into a flame_

_But damn, it’s getting dark, so let me spell out the name_

_I am the—_

_HAMILTON/LAFAYETTE/MULLIGAN/LAURENS:_

_A-L-E-X-A-N-D_

_E-R—we are—meant to be…_

_HAMILTON:_

_A colony that runs independently_

_Meanwhile, Britain keeps shittin’ on us endlessly_

_Essentially, they tax us relentlessly_

_Then King George turns around, runs a spending spree_

_He ain’t ever gonna set his descendants free_

_So there will be a revolution in this century_

_Enter me!_

_LAFAYETTE/MULLIGAN/LAURENS:_

_(He says in parentheses)_

_HAMILTON:_

_Don’t be shocked when your hist’ry book mentions me_

_I will lay down my life if it sets us free_

_Eventually, you’ll see my ascendancy_

_HAMILTON & LAURENS:_

_And I am not throwing away_

_My shot (my shot)_

_I am not throwing away_

_My shot (my shot)_

_Hey yo, I’m just like my country_

_I’m young, scrappy and hungry_

_And I’m not throwing away my shot_

_And I'm not throwing away my shot_

_HAMILTON/MULLIGAN/LAURENS/LAFAYETTE:_

_I am not throwing away my shot_

_I am not throwing away my shot_

_Hey yo, I’m just like my country_

_I’m young, scrappy and hungry_

_And I’m not throwing away my shot_

_It’s time to take a shot!_

_LAFAYETTE:_

_I dream of life without a monarchy_

_The unrest in France will lead to ‘onarchy?_

_‘Onarchy? How you say, how you say, ‘anarchy?’_

_When I fight, I make the other side panicky_

_With my—_

_HAMILTON/LAURENS/LAFAYETTE/MULLIGAN:_

_Shot!_

_MULLIGAN:_

_Yo, I’m a tailor’s apprentice_

_And I got y’all knuckleheads in loco parentis_

_I’m joining the rebellion cuz I know it’s my chance_

_To socially advance, instead of sewin’ some pants!_

_I’m gonna take a—_

_HAMILTON/LAURENS/LAFAYETTE/MULLIGAN:_

_Shot!_

_LAURENS:_

_But we’ll never be truly free_

_Until those in bondage have the same rights as you and me_

_You and I. Do or die. Wait till I sally in_

_On a stallion with the first black battalion_

_Have another—_

_HAMILTON/LAURENS/LAFAYETTE/MULLIGAN:_

_Shot!_

_BURR:_

_Geniuses, lower your voices_

_You keep out of trouble and you double your choices_

_I’m with you, but the situation is fraught_

_You’ve got to be carefully taught:_

_If you talk, you’re gonna get shot!_

 

_HAMILTON:_

_Burr, check what we got_

_Mister Lafayette, hard rock like Lancelot_

_I think your pants look hot_

_Laurens, I like you a lot_

_Let’s hatch a plot blacker than the kettle callin’ the pot..._

_What are the odds the gods would put us all in one spot_

**_Burr, you're one of us whether you like it or not_ **

**_You may be on the DL, but I think I know what your position is,_ **

**_So give me your position, show me where the ammunition is!_ **

 

**(the "music cutting out sound" happens, weird and echoey and haunting background sound)**

**(the stage goes dark and the spotlight focuses on BURR)**

 

**_BURR:_ **

**_I envision death so much it feels more like a memory_ **

**_This is where it gets me: on my feet, sharing a soliloquy_ **

**_If I share your sentiments, the British will want to kill me_ **

**_I wouldn't wish this hell on my worst enemy_ **

 

**(vaguely haunting background music, very subtle)**

 

**_But if you want the truth, I'll say I've seen a war_ **

**_It's ruthless and ugly, is that enough or should I give you more?_ **

**_My abilities are tough to explain, but I'll give you the pith_ **

**(no music)**

**_The only reliable future is your death!_ **

 

**(spotlight replaced with dim light to reveal everyone as BURR realizes he just shouted that to the whole bar)**

**(everyone is stunned into silence and suddenly looking at him, very grim)**

 

 **_BUR_ ** **_R:_  (nervous again, retreating back into himself)**

**_Shit, sorry, did I get too real?_ **

**_See, this is why I don't like to share how I feel_ **

**_I'm not good at making friends_ **

**_That's what I get for saying my thoughts out loud._ **

 

**(BURR tries to leave, HAMILTON stops him)**

 

**_HAMILTON:_ **

**_I'm sorry, then, but one more question: Do we win?_ **

 

**_BURR:_ **

**(heavy beat as he considers what he's about to say, then he makes a choice)**

**_Yes._ **

 

**(HAMILTON beams and turns to LAURENS)**

 

**_HAMILTON:_ **

**_I told y'all he'd make us proud._ **

 

**_LAURENS:_ **

**_Burr, welcome to the revolution crowd!_ **

 

**(lights go back to full brightness as everything gets back into rhythm)**

 

(technically BURR has been added to a lot of these but I'm not going to bold it, it kinda goes without saying in this version)

 

_HAMILTON/BURR/LAURENS/LAFAYETTE/MULLIGAN/ENSEMBLE:_

_I am not throwing away my shot_

_I am not throwing away my shot_

_Hey yo, I’m just like my country_

_I’m young, scrappy and hungry_

_And I’m not throwing away my shot_

_I am not throwing away my shot_

_I am not throwing away my shot_

_Hey yo, I’m just like my country_

_I’m young, scrappy and hungry_

_And I’m not throwing away my shot_

_LAURENS & HAMILTON/BURR/LAFAYETTE/MULLIGAN:_

_Ev’rybody sing:_

_Whoa, whoa, whoa (whoa, whoa, whoa)_

_Hey!_

_Whoa (Whoa)_

_Wooh!!_

_Whoa! (Whoa)_

_Said let ‘em hear ya! (Yea)_

_Let’s go!_

_LAURENS & COMPANY:_

_Whoa! Whoa! Whoa!_

_I said shout it to the rooftops!_

_Whoa!_

_Said, to the rooftops!_

_Whoa!_

_Come on!_

_Yea_

_Come on, let’s go!_

_LAURENS:_

_Rise up!_

_When you’re living on your knees, you rise up_

_Tell your brother that he’s gotta rise up_

_Tell your sister that she's gotta rise up_

_LAURENS AND ENSEMBLE & COMPANY:_

_When are these colonies gonna rise up?_

_Whoa! Whoa! Whoa!_

_When are these colonies gonna rise up?_

_Whoa_

_When are these colonies gonna rise up?_

_Whoa_

_When are these colonies gonna rise up?_

_Whoa_

_Rise up! (Rise up!)_

**(Spotlight again, this time wider: HAMILTON grabs BURR's wrist and talks to him directly in a private moment)**

**(BURR is stunned/pleasantly surprised that HAMILTON is talking to him directly)**

 

**(HAMILTON is asking BURR eagerly when he dies, curious, while BURR looks more serious/worried/sad about it)**

 

_HAMILTON:_

_I imagine death so much it feels more like a memory_

_When’s it gonna get me?_

_In my sleep? Seven feet ahead of me?_

_If I see it comin’, do I run or do I let it be?_

_Is it like a beat without a melody?_

**(HAMILTON starts to lead BURR upstage)**

_See, I never thought I’d live past twenty_

_Where I come from some get half as many_

_Ask anybody why we livin’ fast and we laugh, reach for a flask_

_We have to make this moment last_

 

 **_BURR:_ ** **(politely pushes HAMILTON's hand away with his own free hand)**

**_That's plenty._ **

_HAMILTON:_ **(lets go and starts making grand gestures with his hands of the future he sees, trying to get Burr excited, too)**

_Scratch that_

_This is not a moment, it’s the movement_

_Where all the hungriest brothers with_

_Something to prove went?_

_Foes oppose us, we take an honest stand_

_We roll like Moses, claimin’ our promised land_

**(turns back to BURR, asking him again, walks back over to him)**

_And? If we win our independence?_

_Is that a guarantee of freedom for our descendants?_

_Or will the blood we shed begin an endless_

_Cycle of vengeance and death with no defendants?_

**(puts a hand on BURR's neck, getting close for a "just between you and me" type talk)**

_I know the action in the street is excitin’_

_But Jesus, between all the bleedin’ ‘n fightin’_

_I’ve been readin’ ‘n writin’_

_We need to handle our financial situation_

**(takes the hand away and turns to BURR to ask again)**

_Are we a nation of states? What’s the state of our nation?_

**(BURR opens his mouth like he's considering answering but trying to think of what to say)**

**(...but HAMILTON is riled up now, and turns forward instead to address the audience, steps forward)**

_I’m past patiently waitin’_

_I’m passionately smashin’ every expectation_

_Every action’s an act of creation!_

_I’m laughin’ in the face of casualties and sorrow_

_For the first time, I’m thinkin’ past tomorrow_

**(the whole stage lights up bright again- the moment has passed)**

 

_HAMILTON AND COMPANY:_

_And I am not throwing away my shot_

_I am not throwing away my shot_

_Hey yo, I’m just like my country_

_I’m young, scrappy and hungry_

_And I’m not throwing away my shot_

_HAMILTON/BURR/LAURENS/_

_LAFAYETTE/MULLIGAN & ENSEMBLE:_

_We’re gonna rise up! Time to take a shot!_

_Not throwing away my shot_

_We’re gonna rise up! Time to take a shot!_

_Not throwing away my shot_

_We’re gonna_

_We're gonna_

_HAMILTON & ENSEMBLE:_

_Time to take a shot! (Rise up)_

_HAMILTON/BURR/LAFAYETTE/_

_LAURENS/MULLIGAN & ENSEMBLE:_

_Time to take a shot! (Rise up)_

_Time to take a shot! (Rise up)_

_Take a shot! Ri— ri— ri—_

_Shot!_

_Shot!_

_A-yo it’s_

_Time to take a shot! (Time to take a shot!)_

_Time to take a shot! (Time to take a shot!)_

_And I am— (And I am)_

_HAMILTON/BURR/LAFAYETTE/MULLIGAN/LAURENS:_

_Not throwin’ away my—_

 

_COMPANY:_

_Not throwin’ away my shot!_

 

** 4\. "The Story of Tonight" **

(minor changes, mostly just to add BURR to the group)

 

_HAMILTON:_

_I may not live to see our glory!_

_LAFAYETTE/MULLIGAN/LAURENS:_

_I may not live to see our glory!_

_HAMILTON:_

_But I will gladly join the fight!_

_LAFAYETTE/MULLIGAN/LAURENS:_

_But I will gladly join the fight!_

_HAMILTON:_

_And when our children tell our story…_

_LAFAYETTE/MULLIGAN/LAURENS/ **BURR** :_

_And when our children tell our story…_

_HAMILTON:_

_They’ll tell the story of tonight_

_MULLIGAN:_

_Let’s have another round tonight_

_LAFAYETTE:_

_Let’s have another round tonight_

**_BURR:_ **

_Let’s have another round tonight_

_LAURENS:_

_Raise a glass to freedom_

_Something they can never take away_

_No matter what they tell you_

**_Raise a glass to the five of us_ **

_HAMILTON/LAURENS:_ **(to BURR)**

**_Keep the movement alive with us_ **

_MULLIGAN/LAFAYETTE:_

**_We'll tell the story of tonight_ **

**_BURR:_ **

_They’ll tell the story of tonight_

_LAURENS/MULLIGAN/LAFAYETTE:_

_Raise a glass to freedom_

_Something they can never take away_

_HAMILTON:_ **(to BURR)**

_No matter what they tell you_

_MULLIGAN/LAFAYETTE:_

_Let’s have another round tonight_

_LAURENS:_

**_Raise a glass to the five of us_ **

_HAMILTON/LAURENS/MULLIGAN/LAFAYETTE:_

**_Keep the movement alive with us_ **

_HAMILTON/LAURENS **/BURR** :_

**_We'll tell the story of tonight_ **

_MULLIGAN/LAFAYETTE:_

_Let’s have another round tonight_

_HAMILTON/BURR/LAURENS/_

_ENSEMBLE & MULLIGAN/LAFAYETTE/ENSEMBLE:_

_They’ll tell the story of tonight_

_Raise a glass to freedom_

_They’ll tell the story of tonight_

_Raise a glass to freedom_

_They’ll tell the story of tonight_

_They'll tell the story of—_

_FULL ENSEMBLE:_

_Tonight_

 

** 5\. "You'll Be Back" **

(exact same, full lyrics here purely for context)

 

_[Verse 1: KING GEORGE]_

_You say_

_The price of my love’s not a price that you’re willing to pay_

_You cry_

_In your tea which you hurl in the sea when you see me go by_

_Why so sad?_

_Remember we made an arrangement when you went away_

_Now you’re making me mad_

_Remember, despite our estrangement, I’m your man_

_You’ll be back, soon you’ll see_

_You’ll remember you belong to me_

_You’ll be back, time will tell_

_You’ll remember that I served you well_

_Oceans rise, empires fall_

_We have seen each other through it all_

_And when push comes to shove_

_I will send a fully armed battalion to remind you of my love!_

_[Chorus: KING GEORGE ]_

_Da da da dat da dat da da da da ya da_

_Da da dat dat da ya da!_

_Da da da dat da dat da da da da ya da_

_Da da dat dat da…_

_[Verse 2: KING GEORGE]_

_You say our love is draining and you can’t go on_

_You’ll be the one complaining when I am gone..._

_And no, don’t change the subject_

_Cuz you’re my favorite subject_

_My sweet, submissive subject_

_My loyal, royal subject_

_Forever and ever and ever and ever and ever…_

_[Verse 3: KING GEORGE]_

_You’ll be back like before_

_I will fight the fight and win the war_

_For your love, for your praise_

_And I’ll love you till my dying days_

_When you’re gone, I’ll go mad_

_So don’t throw away this thing we had_

_Cuz when push comes to shove_

_I will kill your friends and family to remind you of my love_

_[Chorus: KING GEORGE ]_

_Da da da dat da dat da da da da ya da_

_Da da dat dat da ya da!_

_Da da da dat da dat da da da da ya da_

_Da da dat—_

_Everybody!_

_[Chorus: FULL ENSEMBLE]_

_Da da da dat da dat da da da da ya da_

_Da da dat dat da ya da!_

_Da da da dat da dat da da da da ya da da da da_

_Dat dat da ya da!_

 

** 6\. "Right-Hand Man" **

(changes in middle/end, slight change in who says what in beginning)

 

_COMPANY:_

_British Admiral Howe’s got troops on the water_

_Thirty-two thousand troops in New York harbor_

_ENSEMBLE 1 & ENSEMBLE 2:_

_Thirty-two thousand troops in New York harbor_

_Thirty-two thousand troops in New York harbor_

_When they surround our troops!_

_They surround our troops!_

_They surround our troops!_

_They surround our troops!_

_When they surround our troops!_

_HAMILTON:_

_As a kid in the Caribbean I wished for a war_

_I knew that I was poor_

_I knew it was the only way to—_

_HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE:_

_Rise up!_

_HAMILTON:_

_If they tell my story_

_I am either gonna die on the battlefield in glory or—_

_HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE:_

_Rise up!_

**_BURR:_ **

_I will fight for this land_

_But there’s only one man_

_Who can give us a command so we can—_

_HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE:_

_Rise up!_

**_BURR:_ **

_Understand? It’s the only way to—_

_HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE:_

_Rise up! Rise up!_

**_BURR:_ **

_Here he comes_

_ENSEMBLE:_

_Here comes the General!_

**_HAMILTON:_ **

_Ladies and gentlemen!_

_ENSEMBLE:_

_Here comes the General!_

**_HAMILTON:_ **

_The moment you’ve been waiting for!_

_ENSEMBLE:_

_Here comes the General!_

**_HAMILTON:_ **

_The pride of Mount Vernon!_

_ENSEMBLE:_

_Here comes the General!_

**_HAMILTON:_ **

_George Washington!_

_WASHINGTON & ENSEMBLE:_

_We are outgunned (What?)_

_Outmanned (What?)_

_Outnumbered_

_Outplanned (Buck, buck, buck, buck, buck!)_

_We gotta make an all out stand_

_Ayo, I’m gonna need a right-hand man_

_(Buck, buck, buck, buck, buck!)_

_WASHINGTON:_

_Check it—_

_Can I be real a second?_

_For just a millisecond?_

_Let down my guard and tell the people how I feel a second?_

_Now I’m the model of a modern major general_

_The venerated Virginian veteran whose men are all_

_Lining up, to put me up on a pedestal_

_Writin’ letters to relatives_

_Embellishin’ my elegance and eloquence_

_But the elephant is in the room_

_The truth is in ya face when ya hear the British cannons go…_

_ENSEMBLE:_

_Boom!_

_WASHINGTON:_

_Any hope of success is fleeting_

_How can I keep leading when the people I’m_

_Leading keep retreating?_

_We put a stop to the bleeding as the British take Brooklyn_

_Knight takes rook, but look_

_WASHINGTON & ENSEMBLE:_

_We are outgunned (What?)_

_Outmanned (What?)_

_Outnumbered_

_Outplanned (Buck, buck, buck, buck, buck!)_

_We gotta make an all out stand_

_Ayo, I’m gonna need a right-hand man_

_(Buck, buck, buck, buck, buck!)_

_Incoming!_

(everything stops, lights up on the quintet)

(side note: this is from a draft, called "Hamilton's Interlude" or "Yes Indeed") 

**_HAMILTON:_ **

**_Now I can write a revolutionary screed until my fingers bleed,_ **

**_But action's gonna bring us what we need_ **

**_LAURENS:_ **

**_Yes indeed._ **

**_HAMILTON:_ **

**_Tonight we plant a revolutionary seed and watch it twist and weave_ **

**_And grow until we choke out every weed_ **

**_BURR:_ **

**_Yes indeed._ **

**_HAMILTON:_ **

**_We'll grab those cannons with our legendary speed_ **

**_Keep in step with me:_ **

**_The leader of this gang, are we agreed?_ **

**_BURR/LAURENS/LAFAYETTE/MULLIGAN:_ **

**_Yes indeed._ **

**_HAMILTON:_ **

**_Stick with me._ **

**_BURR/LAURENS/LAFAYETTE/MULLIGAN:_ **

**_Yes indeed._ **

**_HAMILTON:_ **

**_'Til we're free_ **

**_BURR/LAURENS/LAFAYETTE/MULLIGAN:_ **

**_Yes indeed!_ **

**_HAMILTON:_ **

**_Say goodbye to the life you used to lead!_ **

****

(they steal the cannons, everything un-pauses)

_MULLIGAN & COMPANY:_

_Shh-boom! (Boom!)_

_WASHINGTON:_

_Goes the cannon, watch the blood and the shit spray and…_

_COMPANY:_

_Boom!_

_WASHINGTON:_

_Goes the cannon, we’re abandonin’ Kips Bay and…_

_COMPANY:_

_Boom!_

_WASHINGTON:_

_There’s another ship and…_

_COMPANY:_

_Boom!_

_WASHINGTON:_

_We just lost the southern tip and…_

_COMPANY:_

_Boom!_

_WASHINGTON:_

_We gotta run to Harlem quick, we can’t afford another slip_

_Guns and horses giddyup_

_I decide to divvy up_

_My forces, they’re skittish as the British cut the city up_

_This close to giving up, facing mad scrutiny_

_I scream in the face of this mass mutiny:_

_Are these the men with which I am to defend America?_

_We ride at midnight, Manhattan in the distance_

_I cannot be everywhere at once, people_

_I’m in dire need of assistance…_

 

**_BURR:_ **

_Your excellency, you wanted to see me?_

 

_WASHINGTON:_

**_Aaron Burr, come in!_ **

 

**_BURR:_ **

**_Permission to ask a question?_ **

 

_WASHINGTON:_

_As you were._

 

**_BURR:_ **

_Have I done something wrong, sir?_

_WASHINGTON:_

_On the contrary_

_I called you here because our odds are beyond scary_

_Your reputation precedes you, **but I know you're not perfect**_

**_BURR:_ **

_Sir?_

_WASHINGTON:_

**_Mister Burr, how much of this war can you really predict?_ **

**_BURR:_ **

_Sir!_

_WASHINGTON:_

_Don’t get me wrong, you’re a young man of great renown_

_I know you stole British cannons when we were still downtown_

 

**_BURR:_ **

**_That was Hamilton's plan-_ **

**_WASHINGTON:_ ** **(blows past him)**

**_If you don't mind, I'd like to hire you_ **

**_To be my Secretary_ **

****

**_BURR:_ ** **(nervous)**

**_I don’t think so...._ **

_WASHINGTON:_

_Now why’re you upset?_

**_BURR:_ (confused)**

_I’m not?_

_WASHINGTON:_

_It’s alright, you want to fight, you’ve got a hunger_

_I was just like you when I was younger_

_Head full of fantasies of dyin’ like a martyr?_

**_BURR:_ **

**_I guess._ **

_WASHINGTON:_

_Dying is easy, young man. Living is harder_

**_BURR:_ **

_Why are you telling me this?_

_WASHINGTON:_

_I’m being honest_

_I’m working with a third of what our Congress has promised_

_We are a powder keg about to explode_

_I need someone like you to lighten the load. So?_

**_COMPANY EXCEPT BURR:_ **

_I am not throwin’ away my shot!_

_I am not throwin’ away my shot!_

_Ayo, I’m just like my country, I’m young_

_Scrappy and hungry!_

**_BURR:_ **

_I am not throwing away my shot_

_WASHINGTON:_

_Son_

_WASHINGTON & COMPANY:_

_We are outgunned, outmanned!_

**_BURR:_ **

_You need all the help you can get_

_I have some friends. **Hamilton, Laurens**_

**_Mulligan, Lafayette,_ ** _okay, what else?_

_WASHINGTON & COMPANY:_

_Outnumbered, outplanned!_

**_BURR:_ **

_We’ll need some spies on the inside_

_Some King’s men who might let some things slide_

 

**_I'll see the battles ahead with my third eye,_ **

**_Use it to advise,_ **

**_strategize,_ **

**_Master the element of surprise_ **

 

_I'll rise above my station, **give you all my information**_

_'Til we rise to the occasion of our new nation, sir!_

_ENSEMBLE:_

_Here comes the General!_

**_BURR:_ **

_Rise up!_

_LAURENS/LAFAYETTE/MULLIGAN:_

_What?_

_ENSEMBLE:_

_Here comes the General!_

_HAMILTON/ENSEMBLE WOMEN:_

_Rise up!_

_LAURENS/LAFAYETTE/MULLIGAN:_

_What?_

_ENSEMBLE:_

_Here comes the General!_

**_BURR/_** _HAMILTON/ENSEMBLE WOMEN:_

_Rise up!_

_LAURENS/LAFAYETTE/MULLIGAN:_

_What?_

_COMPANY:_

_Here comes the General!_

_HAMILTON:_

_What?_

_WASHINGTON:_

_And his right hand man!_

_COMPANY:_

_Boom!_

 

** 7\. "Say No To This" * **

The first "vision sequence"- The stage is lit up purple, Burr stands off to the side.  There's some chorus people in the background but they're sort of hidden in the dark, giving more of an appearance of Burr being alone.

 

HAMILTON sits at a desk working, wearing a yellow/beige/cream-colored vest over a white long-sleeved shirt.

 

_BURR:_

_I'm seeing Hamilton back in Manhattan_

_I wish I knew when this was supposed to happen_

(HAMILTON is trying not to fall asleep)

_The clock ticks, it's late, he's slowly fading_

_Then there's a knock at the door.  Who's this lady?_

 

 

(MYSTERY WOMAN enters (generally part of Ensemble, NOT double-cast as Peggy).  She's clad in a red dress with matching red lipstick.)

 

 _MYSTERY WOMAN:_ (to HAMILTON)

_I know you are a man of honor_

_I'm so sorry to bother you at home,_

_But I don't know where to go_

_And I came here all alone_

 

_My husband's so withdrawn,_

_He won't connect with me, he's rejecting me, neglecting me_

_Suddenly he's up and gone_

_And now I’m too lonely to go on_

 

_BURR:_

_And so that she won’t be alone, he offers to walk her home, she says,_

 

_WOMAN:_

_If you don’t mind, sir._

 

_BURR:_

_He chats with her until she’s smiling all the way,_

_She lives a mile away, she says_

 

_WOMAN:_

_You’re too kind, sir._

 

_BURR:_

_Then he pours the two of them a drink,_

_They drink until they can't think clearly,_

_She turns pink_

 

_WOMAN:_

_Stay?_

 

_HAMILTON:_

_Hey..._

 

_WOMAN:_

_Hey..._

 

_BURR:_

_And I swear I can hear him say_

 

_HAMILTON:_

_Lord, show me how to say no to this_

_I don't know how to say no to this_

_Oh my God, she looks so helpless_

_And her body's sayin' "Hell yes"_

 

_WOMAN:_

_Whoa-oa-oa-oo-whoa-oa_

 

(This next part is like the ending, only there's no key change which means it's lower than we're used to, but same as before)

 

_HAMILTON:_

_Lord, show me how to say no to this_

 

_HAMILTON & WOMAN:_

_How can I say no to this?_

 

_HAMILTON:_

_In my mind, I'm tryin' to go_

 

_ENSEMBLE:_

_Go! Go! Go!_

 

_HAMILTON:_

_Then her mouth is on mine and I don't say_

 

_ENSEMBLE:_

_No!_

 

(BURR watches them, his reactions may vary depending on the actor)

 

_HAMILTON ( & WOMAN):_

_Yes (Yes)_

 

_ENSEMBLE:_

_Say no to this!_

_No!_

_(x3)_

 

_HAMILTON & WOMAN:_

_Yes (Yes)_

 

_HAMILTON & ENSEMBLE:_

_Say no to this_

 

_HAMILTON:_

_I                 HAMILTON & WOMAN:_

_don't say no to this_

 

_HAMILTON:_

_When we're done, I turn to go_

 

_ENSEMBLE:_

_Go! Go! Go!_

 

(HAMILTON turns his head/gaze to where BURR is for a second, as if he can see him.  BURR looks away as if he's been caught.)

(...but HAMILTON's gaze leaves him just as quickly, as if he didn't see anything because he's just a vision)

 

_HAMILTON:_

_Nobody needs to know._

 

(The vision fades.  BURR is very confused by all of this, but shakes his head and exits the stage, putting it out of his mind.)

 

** 8\. "Stay Alive" * **

_ENSEMBLE WOMAN SOLO:_

_Stay alive..._

 

_ENSEMBLE WOMEN:_

_Stay alive..._

 

(This happens over the piano/music of "Stay Alive," so it gives off more of a motivational vibe than a depressing one)

_WASHINGTON:_

_These are the times that try men's souls.  The summer soldier and the sunshine patriot will, in this crisis, shrink from the service of their country.  But he that stands by it now deserves the love and thanks of man and woman.  Tyranny, like hell, is not easily conquered, yet we have this consolation with us that the harder the conflict, the more glorious the triumph._

_Thomas Paine._

 

_The cavalry's not coming, so listen up, men,_

_There's only one way for us to win this:_

 

_Provoke outrage.  Outright._

_Don't engage, strike by night._

_Remain relentless 'til their troops take flight_

 

_BURR:_

_Make it impossible to justify the cost of the fight._

 

_WASHINGTON:_

_Outrun._

 

_BURR:_

_Outrun._

 

_WASHINGTON:_

_Outlast._

 

_HAMILTON:_

_Outlast._

 

_WASHINGTON:_

_Hit 'em quick, get out fast._

 

_HAMILTON:_

_Chick-a-plao!_

 

(BURR gives him a look, HAMILTON backs down a bit, embarrassed)

 

_WASHINGTON:_

_Stay alive until this horror show has passed_

_We're gonna fly a lot of flags half-mast_

 

_BURR/HAMILTON/LAURENS/LAFAYETTE:_

_Raise a glass!_

 

_MULLIGAN:_

_I go back to New York and my apprenticeship_

_LAFAYETTE:_

_I ask for French aid, I pray that France has sent a ship_

_LAURENS:_

_I serve as Burr's main guard_

_We write essays against slavery_

_And every day’s a test of our camaraderie_

_And bravery_

_HAMILTON:_

_We cut supply lines, we steal contraband_

 

_BURR:_

_We pick and choose our battles and places to take a stand_

_And ev’ry day_

_“Sir, entrust me with a command,”_

_And ev’ry day_

_WASHINGTON:_

_No_

_BURR:_

_He dismisses me out of hand_

 

_Instead of me, he promotes_

 

 _BURR/HAMILTON_ (incredulous, mad) _ & LEE _(proud):

_Charles Lee!_

 

_BURR:_

_Makes him second-in-command_

 

_LEE:_

_I'm a General.  Whee!_

 

 _HAMILTON:_ (looks at the audience like he's on  _The Office_ )

_Yeah, he's not the choice we would have gone with._

 

(BURR stumbles backward, overwhelmed, ends up in the middle of the stage)

 

_HAMILTON/LAURENS/LAFAYETTE/ENSEMBLE:_

_Aaron has a vision of the Battle of Monmouth!_

 

(Purple lighting on one half, where the battle is taking place)

 

_WASHINGTON:_

_Everyone attack!_

 

_LEE:_

_Retreat!_

 

_WASHINGTON:_

_Attack!_

 

_LEE:_

_Retreat!_

 

_WASHINGTON:_

_What are you doing, Lee?  Get back on your feet!_

 

_LEE:_

_But there's so many of them!_

 

_WASHINGTON:_

_I'm sorry, is this not your speed?_

 

(HAMILTON stands in front of BURR and shakes his shoulders.  The purple light disappears and the other side of the stage lights up: HAMILTON, LAURENS, and LAFAYETTE in the tent with him, looking concerned)

 

_BURR:_

_Hamilton!_

 

_HAMILTON:_

_Burr?_

 

_BURR:_

_We cannot let Charles lead!_

 

(He faces the group as he tells them, the three listening intently, a little alarmed by his urgency)

 

_A thousand soldiers will die in a hundred degree heat!_

_As we snatch a stalemate from the jaws of defeat!_

 

_HAMILTON:_

_But as we had this conversation, Charles Lee overheard_

_He started dragging our Aaron's reputation through the dirt_

 

_LEE:_

_Burr's so-called visions are making his judgment hazy,_

_He's going crazy, like a madman, he's raving_

_The best thing he can do for the American people_

_Is go home and get locked in an asylum without a peephole_

 

(HAMILTON lunges forward like he's about to punch him, BURR tries to grab his arm and pull him back but he pulls away from Burr, determined.  It is WASHINGTON, standing on the other side of HAMILTON, who stops him, by putting a firm hand on his chest and pushing him backward)

_ENSEMBLE:_

_Oooooh!_

 

_WASHINGTON:_

_Don’t do a thing. History will prove him wrong_

_HAMILTON:_

_But, sir!_

_WASHINGTON:_

_We have a war to fight, let’s move along_

 

(WASHINGTON walks away, HAMILTON turns to BURR, still upset)

_HAMILTON:_

_Strong words from Lee, someone oughta hold him to it!_

_BURR:_ (puts a hand on HAMILTON's chest, more gentle)

_Alex, we can’t disobey direct orders_

 

(This calms HAMILTON a bit, or at the very least stops his rage for a moment)

 

(LAURENS, who is standing on the other side of BURR, steps forward) 

 

_LAURENS:_

_Then I’ll do it_

(reaches out a hand, an offer)

_Alexander, you’re the closest friend I’ve got_

 

(HAMILTON steps forward, away from BURR)

 

 _HAMILTON:_ (takes his hand and shakes it, right in front of BURR who looks at them with a conflicted expression)

_Laurens, do not throw away your shot_

 

** 9\. "Ten Duel Commandments" **

(some dialogue changes at the end, Evan Edwards added as he's a character in this play)

 

_MEN:_

_One, two, three, four_

_FULL COMPANY:_

_Five, six, seven, eight, nine…_

_BURR/HAMILTON/LAURENS/LEE/ **EDWARDS** :_

_It’s the Ten Duel Commandments_

_FULL COMPANY:_

_It’s the Ten Duel Commandments_

_Number one!_

_LAURENS:_

_The challenge: demand satisfaction_

_If they apologize, no need for further action_

_COMPANY:_

_Number two!_

_LAURENS:_

_If they don’t, grab a friend, that’s your second_

_HAMILTON:_

_Your lieutenant when there’s reckoning to be reckoned_

_COMPANY:_

_Number three!_

_LEE:_

_Have your seconds meet face to face_

**_EDWARDS:_ **

_Negotiate a peace…_

_HAMILTON:_

_Or negotiate a time and place_

_BURR:_

_This is commonplace, ‘specially ‘tween recruits_

_COMPANY:_

_Most disputes die, and no one shoots_

_Number four!_

_LAURENS:_

_If they don’t reach a peace, that’s alright_

_Time to get some pistols and a doctor on site_

_HAMILTON:_

_You pay him in advance, you treat him with civility_

_BURR:_

_You have him turn around so he can have deniability_

_COMPANY:_

_Five!_

_LEE:_

_Duel before the sun is in the sky_

_COMPANY:_

_Pick a place to die where it’s high and dry_

_Number six!_

_HAMILTON:_

_Leave a note for your next of kin_

_Tell ‘em where you been. Pray that hell or heaven lets you in_

_COMPANY:_

_Seven!_

_LEE:_

_Confess your sins. Ready for the moment_

_Of adrenaline when you finally face your opponent_

_COMPANY:_

_Number eight!_

_LAURENS/LEE/HAMILTON/BURR/ **EDWARDS:**_

_Your last chance to negotiate_

_Send in your seconds, see if they can set the record straight…_

_BURR:_

**_Evan Edwards?_ **

**_EDWARDS:_ **

_Aaron Burr, sir_

_Can we agree that duels are dumb and immature?_

**_BURR:_ **

_Sure_

**_But you ought to discuss this with Alexander, sir,_ **

**_And I assure you, Charles Lee will survive this, sir_ **

**_EDWARDS:_ **

**_Sure,_ **

**_But don’t you think that witch hunts based on your so-called visions can be poisonous?_ **

**(BURR’s demeanor changes to one of pure annoyance)**

_BURR:_

**_Screw it, I’m with the boys on this._ **

_COMPANY:_

_Number nine!_

_HAMILTON:_

_Look ‘em in the eye, aim no higher_

_Summon all the courage you require_

_Then count_

_MEN:_

_One two three four_

_FULL COMPANY:_

_Five six seven eight nine_

_HAMILTON/BURR:_

_Number_

_COMPANY:_

_Ten paces!_

_HAMILTON/BURR:_

_Fire!_

 

** 10\. "Here Comes The General" * **

 ("Meet Me Inside" (Part One))

 

_HAMILTON:_

_Lee, do you yield?_

_EDWARDS:_

_You shot him in the side!_

_Yes, he yields!_

_LAURENS:_

_I’m satisfied_

_BURR:_

_Yo, we gotta clear the field!_

_HAMILTON:_

_Go! We won_

_COMPANY:_

_Here comes the General!_

_BURR:_

_This should be fun_

_WASHINGTON:_

_What is the meaning of this? Edwards, get a medic for the General_

_EDWARDS:_

_Yes, sir_

_WASHINGTON:_

_Lee, you will never agree with me_

_But believe me, these young men don’t speak for me_

_Thank you for your service_

_BURR:_ (to LAURENS + HAMILTON)

_Let’s go, men!_

(They try to leave before he spots them, which fails immediately)

_WASHINGTON:_

_You three!_

_BURR/LAURENS/HAMILTON:_ (like children who’ve been caught)

_Sir?_

(A pause in dialogue, the music continues to play— music sounding very much like the end of the song, adding tension)

 

(They’re nervous, WASHINGTON holds up a scolding finger and steps towards them slowly like he’s going to ream them out… but when he gets to them, he drops his hand, tired, still glaring at them and annoyed but kind of giving up)

_WASHINGTON:_

_Don’t pull this shit again._

 

(Music plays out the same way it does at the end, only this time WASHINGTON simply leaves, and BURR, HAMILTON, and LAURENS are left in stunned silence, not sure what just happened)

 

** 11\. "The Schuyler Sisters" * **

(set changes to civilian/city life, the vibe is much campier and lighter)

 

_HAMILTON:_

_There's nothing that makes the oppressed cheer_

_More than human rights championed by our dear Seer_

         (very fast, no time for breath):

 _Laurens_ _publishes his words, but makes sure he gets the credit,_

_And soon anyone who's anyone in America's read it_

 

_Take the Schuylers_

_The fam'ly's loaded_

_And though Philip's values may be old,_

_Still, his daughters, Peggy, Angelica, Eliza_

_Couldn't be happier for women's rights, now_

 

_COMPANY:_

_Work, work!_

_ANGELICA:_

_Angelica!_

_COMPANY:_

_Work, work!_

_ELIZA:_

_Eliza!_

_PEGGY:_

_And Peggy!_

_COMPANY:_

_Work, work!_

_The Schuyler sisters!_

_ANGELICA:_

_Angelica!_

_PEGGY:_

_Peggy!_

_ELIZA:_

_Eliza!_

_COMPANY:_

_Work!_

_PEGGY:_ (excited)

_Aaron Burr says our future's full of hope_

_ANGELICA:_ (more apprehensive/skeptical)

_Who knows what the future brings?_

_PEGGY:_

_Aaron Burr says women should get to vote_

_ANGELICA:_

_Men say a lot of things_

_ELIZA:_ (trying a different angle on her)

_But—look around, look around, the_

_Revolution’s happening in New York_

 

(ANGELICA does smile a little, either a little swayed or just indulging her sisters)

_ELIZA/PEGGY:_

_New York_

_COMPANY:_

_Angelica_

_SCHUYLER SISTERS AND COMPANY:_

_Work!_

_PEGGY:_

_Aaron Burr says that we should free our slaves_

_ELIZA:_

_People shouting in the square_

_PEGGY:_

_Aaron Burr's fighting for us, he's so brave!_

_ANGELICA:_ (actually excited now)

_New ideas in the air_

_ANGELICA AND FEMALE ENSEMBLE:_

_Look around, look around—_

_ELIZA:_

_Angelica, remind me what we’re fighting for…_

_CROWD:_

_He's fighting for us!_

 

_ANGELICA & COMPANY:_

_Eliza, if you want rights, you gotta work (work, work)_

_If you want rights, you betta' work (work, work)_

_If you want rights, you gotta work (work, work)_

_Whooaaaaa!_

_ELIZA/ANGELICA/PEGGY with COMPANY:_

_Whooaaaaa!_

_Work!_

_JEFFERSON:_

_Wooh! There’s nothin’ like summer in the city_

_Someone in a rush next to someone lookin’ pretty_

_Excuse me, miss, your presence enchants me_

_How'd you like to join me on a voyage to France?_

_You won't gain your independence in your makeup and heels_

_You need a gentl’man scholar who can give you ideals_

_ANGELICA:_

_Jefferson, you disgust me_

_JEFFERSON:_

_Ah, so you’ve discussed me_

_I wrote the Declaration, baby, you can trust me!_

_ANGELICA:_

_I’ve been reading Common Sense by Thomas Paine_

_So men say that I’m intense or I’m insane_

_You want a revolution? I want a revelation_

_So listen to my declaration:_

_ELIZA/ANGELICA/PEGGY:_ (JEFFERSON is, like, masturbatory levels of happy that they're quoting his words)

_“We hold these truths to be self-evident_

_That all men are created equal”_

 

_ANGELICA:_

_And if you want me, Thomas Jefferson_

_COMPANY:_

_Unh!_ (But JEFFERSON's smug smile disappears quick when it hits him that she's not having any of it)

_ANGELICA:_

_You'd best be planning to include women in the sequel!_

_WOMEN:_

_Work!_

_ELIZA:_

_Look around, look around at how_

_Lucky we are to be alive right now!_

_ELIZA/PEGGY:_

_Look around, look around at how_

_Lucky we are to be alive right now!_

_ELIZA/ANGELICA/PEGGY:_

_History is happening in Manhattan and we just happen to be_

_In the greatest city in the world!_

_SCHUYLER SISTERS AND COMPANY:_

_In the greatest city in the world!_

_ELIZA/PEGGY & COMPANY:                                                                               ANGELICA: _

_Look around, look around (Hey! Hey! Hey! Hey!)                                         ‘Cause I’ve been reading Common sense by Thomas Paine_

_The revolution’s happening in (Hey! Hey! Hey! Hey!)                                   So men say that I’m intense or I’m insane_

_New York! (Look around, look around, the revolution’s happening)           You want a revolution, I want a revelation_

_In New York!                                                                                             So listen to my declaration_

_ELIZA/PEGGY/ANGELICA:_

_We hold these truths to be self-evident that all men are created equal_

_FULL COMPANY:_

_Look around, look around at how lucky we are to be alive right now!_

_History is happening in Manhattan and we just happen to be_

_ALL WOMEN:_

_In the greatest city in the world_

_ALL MEN:_

_In the greatest city—_

_COMPANY:_

_In the greatest city in the world!_

_COMPANY & ANGELICA: _

_Work, work! Angelica_

_COMPANY, ELIZA, & PEGGY: _

_Work, work! Eliza_

_And Peggy!_

_COMPANY & ANGELICA/ELIZA/PEGGY: _

_Work, work!_

_The Schuyler sisters_

_Work, work_

_If you want rights, you betta' work_

_Work, work (hey)_

_Work, work (hey)_

_Work, work_

_COMPANY, ANGELICA, & ELIZA/PEGGY: _

_Work, work_

_Whoa!_

_Hey! Hey! Hey! Hey! Hey!_

_Work, work_

_In the greatest city in the world_

_In the greatest city in the world_

_COMPANY:_

_In the greatest city in the world_

 

** 12\. "A Winter's Ball" * **

_HAMILTON:_

_How does an orphan, agnostic with a, Cassandra curse go on and on_

_Grow into more of a phenomenon?_

_Watch this cautious, methodical tortoise to my hare_

_Become more outspoken and daring_

 

_America hangs on every word he writes_

_But Aaron Burr still wants to serve and fight_

_Now Aaron Burr's skill with the quill is undeniable,_

_But what do we have in common?_

_We're reliable with the_

 

_ALL MEN:_

_LADIES!_

 

_HAMILTON:_

_There are so many to deflower!_

 

_MEN:_

_LADIES!_

 

_HAMILTON:_

_Looks! Proximity to power_

 

_MEN:_

_LADIES!_

 

 _BURR:_  (teasing HAMILTON, goes to stand by his side)

_They delighted and distracted him_

(nudges HAMILTON's ribs, HAMILTON is proud)

_Martha Washington named her feral tomcat after him_

 

 _HAMILTON:_ (like before, looks at audience and breaks 4th wall)

_That's true!_

 

_COMPANY:_

_Seventeen_

_se-ven-ty-sev-en (1777)_

 

_HAMILTON:_

_A winter's ball,_

_And the Schuyler sisters are the envy of all_

 

 _LAURENS:_ (to BURR)

 _Yo, if you could marry a sister, you'll rise up_ (winks)

 

 _HAMILTON:_ (on his other side)

_If I were you, Burr, I'd go for Eliza._

 

(BURR is flattered by their encouragement, they all nudge each other like dorks)

 

_HAMILTON/BURR/LAURENS:_

_Hey_

_Hey_

_Hey hey_

 

** 13\. "Helpless" **

(Angelica and Burr's parts are different, everything else is mostly the same)

_HAMILTON/BURR/LAURENS/ALL WOMEN EXCEPT ELIZA:_

_Hey hey hey hey_

 

 _ELIZA:_ (the "heys" keep going in the background)

_Oooh_

_I do I do I do I doooo!_

_Hey!_

_Oooh_

_I do I do I do I doooo_

_Boy, you got me_

 

_ELIZA AND WOMEN:_

_Helpless!_

_Look into your eyes, and the sky’s the limit I’m helpless!_

_Down for the count, and I’m drownin’ in ‘em_

_ELIZA:_

_I have never been the type to try and grab the spotlight_

_We were at a revel with some rebels on a hot night_

_Laughin’ at my sister as she’s dazzling the room_

_Then you walked in and my heart went “Boom!”_

_Tryin’ to catch your eye from the side of the ballroom_

_Everybody’s dancin’ and the band’s top volume_

_ELIZA AND WOMEN:_

_Grind to the rhythm as we wine and dine_

_ELIZA & ALL WOMEN:_

_Grab my sister, and whisper, “Yo, this one’s mine.” (Ooh)_

_My sister made her way across the room to you (Ooh)_

_And I got nervous, thinking “What’s she gonna do?” (Ooh)_

_She grabbed you by the arm, I’m thinkin’ “I’m through” (Ooh)_

_Then you look back at me and suddenly I’m_

_Helpless!_

_Oh, look at those eyes_

_(Look into your eyes_

_And the sky's the limit)_

_Oh!_

_(I'm helpless)_

_Yeah, I'm helpless, I know_

_(Down for the count and I'm drownin' in 'em_

_I'm helpless)_

_I'm so into you_

_(Look into your eyes)_

_I am so into you_

_(And the sky's the limit, I'm helpless)_

_I know I'm down for the count and I'm drownin' in 'em_

_(Down for the count and I'm drownin' in 'em)_

**_BURR:_ **

_Where are you taking me?_

_ANGELICA:_

_I’m about to change your life_

 

**_BURR:_ **

_Then by all means, lead the way_

_ELIZA:_

_Elizabeth Schuyler. It’s a pleasure to meet you_

**_BURR:_ **

_Schuyler?_

_ANGELICA:_

_My sister_

_ELIZA:_

_Thank you for all your service_

**_BURR:_ **

_If it takes fighting a war for us to meet, it will have been worth it_

_ANGELICA:_

_I’ll leave you to it_

_ELIZA AND WOMEN:_

_One week later_

 

_ELIZA:_

_I’m writin’ a letter nightly_

_Now my life gets better, every letter that you write me_

**_My sister says,_ **

**_ANGELICA:_ ** **(spoken) (concerned, protective)**

**_You're courting, but I'm not sure if he knows_ **

**_I'm just sayin' if he really loved you, he'd propose_ **

**(ELIZA brushes her off)**

 

_ELIZA & ALL WOMEN:_

_Two weeks later in the living room stressin’ (stressin')_

_My father’s stone-faced while you’re asking for his blessin’ (blessin')_

_I’m dying inside, as you wine and dine_

_And I’m tryin’ not to cry ‘cause there’s nothing that your mind can’t do (Ooh)_

_My father makes his way across the room to you (Ooh)_

_I panic for a second, thinking “we’re through”(Ooh)_

_But then he shakes your hand and says “Be true” (Ooh)_

_And you turn back to me, smiling, and I’m_

_Helpless! (Helpless!)_

_(Look into your eyes and the sky's the limit_

_I'm helpless)_

_Helpless_

_(Down for the count and I'm drownin' in 'em (hoo!)_

_I'm helpless!)_

_That boy is mine, that boy is mine_

_(Look into your eyes and the sky's the limit_

_I'm helpless)_

_Helpless, helpless_

_Down for the count and I'm drownin' in 'em_

_(Down for the count and I'm drownin' in 'em)_

 

**_BURR:_ **

**_Eliza, I've got a lot ridin' on my name_ **

**_The people expect me to pre dict their fate, play the game_ **

**_Follow a code of honor, tolerate the pain_ **

**_Of death and the future always weighin' on my brain_ **

_Insane, your family brings out a different side of me_

_Peggy confides in me_

**_Angelica honestly still frightens me_ **

**_No stress! She just wanted to look out for you_ **

**_Made sure that my intentions with you were pure and true_ **

_I've been livin' without a family since I was a child_

**_My parents left me a legacy, I wanna make 'em proud,_ **

**_But now, nothing would honor them more than know-_ **

**_-in' that I've fallen for a lady like yourself, you make me feel so_ **

 

_ALL WOMEN:_

_Helpless!_

 

_ELIZA: **BURR:**_

_I do, I do, I do, I do!                     Eliza_

 

_ALL WOMEN:_

_Helpless!_

 

_ELIZA: **BURR:**_

_I do, I do, I do, I do!                    I never felt so--_

 

_ALL WOMEN:_

_Helpless!_

 

_ELIZA ( & WOMEN):_

_Hey, yeah, yeah!_

_(Down for the count and I'm drownin' in 'em)_

_I'm down for the count, I'm_

_(Helpless!)_

 

**_BURR:_ **

_My life is gon' be fine, 'cause Eliza's in it_

 

_ELIZA:_

_I look into your eyes and the sky's the limit, I'm_

_Down for the count and I'm drownin' in 'em_

 

_ALL WOMEN:_

_In New York, you can be a new man_

_In New York, you can be a new man_

_In New York, you can be a new man_

 

_ELIZA:_

_Helpless_

 

** 14\. "Satisfied" ** **

_LAURENS:_

_Alright, alright.  That's what I'm talkin' about!_

_Now, everyone give it up for the maid of honor_

_Angelica Schuyler!_

 

_ANGELICA:_

_A toast to the groom_

 

_COMPANY:_

_To the groom!_

_To the groom!_

_To the groom!_

 

_ANGELICA:_

_To the bride_

 

_COMPANY:_

_To the bride!_

_To the bride!_

_To the bride!_

 

_ANGELICA:_

_From your sister_

 

_COMPANY:_

_Angelica_

_Angelica_

_Angelica_

 

_ANGELICA:_

_Who's always by your side_

 

_COMPANY:_

_By your side_

_By your side_

 

_ANGELICA & COMPANY:_

_To your union_

_(To the union! To the revolution!)_

_And the hope that you provide_

_(You provide, you provide)_

_May you always_

_(Always)_

_Be satisfied_

 

_COMPANY:_

_Rewind_

 

_ANGELICA:_

_I remember that night, I_ _just might regret that night for the rest of my days_

_I remember those soldier boys trippin' over themselves to win our praise_

_I remember that dreamlike candlelight like a dream that you can't quite place_

_But Aaron Burr, sir, I'll never forget the first time I saw your face_

 

_Our fam'ly's never been the same_

_Intelligent eyes, but weary with pain_

_Standing next to Hamilton, the Abel to his Cain_

_Had to pick your brain, see why they were sayin' that you're insane_

 

_BURR:_

_You strike me as a woman who has never been satisfied._

 

_ANGELICA:_

_I'm sure I don't know what you mean, you forget yourself_

 

_BURR:_

_You're like me.  I'm never satisfied._

 

_ANGELICA:_

_Is that right?_

 

_BURR:_

_I've never been satisfied_

 

_ANGELICA:_

_My name is Angelica Schuyler_

 

_BURR:_

_And you know I'm Aaron Burr_

 

_ANGELICA:_

_Why don't you come meet my sister?_

 

_BURR:_

_Just a minute, let me introduce Alexander_

_Hamilton, my best friend_

 

_ANGELICA:_

_So, so, so_

_Little did I know that was the key_

_To understanding his Achilles' heel, that's the catch!_

_I didn't realize at the time how closely attached_

_The tom cat was, clinging like a parasite- you see it, right?_

_The closer he is to the Seer, the closer he gets_

_To being taken seriously, he's a threat_

_As long as Burr will give him a chance_

_He's a liar, a poser, a sycophant_

_Aaron's King Arthur to Hamilton's Lanc-_

_-elot, so I pull away from this dance,_

_But not permanently, can't untangle the knot_

_That they've tied, only take Burr off to the side_

 

_BURR:_

_Where are you taking me?_

_ANGELICA:_

_I’m about to change your life_

 

_BURR:_

_Then by all means, lead the way_

_ELIZA:_

_Elizabeth Schuyler. It’s a pleasure to meet you_

 

_BURR:_

_Schuyler?_

_ANGELICA:_

_My sister_

_ELIZA:_

_Thank you for all your service_

_BURR:_

_If it takes fighting a war for us to meet, it will have been worth it_

_ANGELICA:_

_Charming, not sure he knows it_

_Disarming my sister like a poet_

_He paints her a future full of beauty_

_But doesn't seem to notice or see_

_That she is_

 

_ELIZA:_

_Helpless_

 

_ANGELICA:_

_And I know she is_

 

_ELIZA:_

_Helpless_

 

_ANGELICA:_

_And her eyes are just_

 

_ELIZA:_

_Helpless_

 

_ANGELICA:_

_And I realize_

 

_CHORUS + ANGELICA:_

_Three fundamental truths with-in no time_

 

(spoken dialogue)

_ANGELICA:_

_You've been courting my sister for two months now.  Are you going to propose to her or not?_

 

_BURR:_

_The situation is more complicated than that._

 

_ANGELICA:_

_Do you love her?_

 

 _BURR:_ (hesitant)

_Of course._

(ANGELICA looks like she's got something to say to that, so BURR quickly continues)

_But I have to think about the future, I can't ask her to share the burden I bear.  She'll want a kind of life that I can't provide.  She deserves better._

 

_ANGELICA:_

_I couldn't agree more.  You set her heart aflame, so don't play games with her.  Either ask for her hand, or douse the fire._

 

_BURR:_

_What fire?_

 

_ANGELICA:_

(sighs)  _Are you really so obsessed with the future that you can't see what's right in front of you?_

 

_BURR:_

_I'll propose to her when the time is right.  Satisfied?_

 

(musical transition)

 

_CHORUS: Number one!_

 

_ANGELICA:_

_As the Seer, he lives in a world apart_

_From the rest of us, never really takes part_

_In the present, never present, though he’s mastered the art_

_Of pre tending, his distance will break her heart_

 

_Furthermore, he’s insecure and lacks initiative_

_And he shut down when I got inquisitive_

_And he’s not sure if he can provide her bliss_

_I’ve never seen a man so helpless_

 

(BURR and ELIZA walk with each other, clearly enjoying each other's company)

 

(spoken dialogue)

_BURR:_

_You should meet my friend Hamilton, he is perhaps the most brave and most passionate man I have ever known._

 

_ELIZA:_

_Why, I'd be honored.  Any friend of yours is a friend of mine._

 

_CHORUS: Number two!_

 

_ANGELICA:_

_Hamilton's a scoundrel with a temper, yet he's still at Burr's side_

_His jealous pride will surely be suicide, but Burr denies_

_that_ (sort of "dropped" at the end)

_Couldn't even make it to this wedding, yet Burr still decides_

    (^beginning kind of crammed in)

_To keep him close, but I know he will never be satisfied_

 

(ELIZA nervously approaches ANGELICA)

 

(spoken dialogue)

_ELIZA:_

_Aaron proposed to me last night._

 

 _ANGELICA:_ (forced enthusiasm)

_Congratulations._

 

_ELIZA:_

_Thank you.  He's made me so happy, but you know what would make me even happier?_

 

_ANGELICA:_

_What's that?_

 

_ELIZA:_

_If you would be my maid of honor._

 

 _ANGELICA:_ (sad smile plastered on her face)

_I would love nothing more._

 

(ELIZA squeals with genuine enthusiasm and hugs her.  The audience sees ANGELICA's smile fall to worry as she reluctantly hugs her back.  ELIZA then exits the stage, oblivious, while ANGELICA regains her position)

_CHORUS: Number three!_

 

_ANGELICA:_

_I know my sister’s already made up her mind_

_Thinks she’ll never find anyone as hon’rable or kind_

_If I let her know I doubt him, she’d be silently resigned_

_She’d decline, pine for the rest of time_

_‘Til she was past her prime_

 

_But when I'm up at night sometimes, I wonder how they'll fare_

_'Cause while he's kind and fair, his mind's not there,_

_And I don't like where_

_Their future's headed_

 

_At least she's happy now as his wife_

_But will she regret choosing this life?_

 

_To the groom!_

 

_COMPANY:_

_To the groom!_

_To the groom!_

_To the groom!_

 

_ANGELICA:_

_To the bride!_

 

_COMPANY:_

_To the bride!_

_To the bride!_

_To the bride!_

 

_ANGELICA:_

_From your sister_

 

_COMPANY:_

_Angelica_

_Angelica_

_Angelica_

 

_ANGELICA:_

_Who is always by your side_

 

_COMPANY:_

_By your side_

_By your side_

 

_ANGELICA & COMPANY:_

_To your union_

_(To the union! To the revolution!)_

_And the hope that you provide_

_(You provide, you provide)_

_May you always_

_(Always)_

_Be satisfied_

 

_COMPANY:_

_Be satisfied_

_Be satisfied_

_Be satisfied_

 

_ANGELICA:_

_And I know_

_Though she's happy as his bride_

_Down the road,_

_He will never be satisfied_

_She will never be satisfied_

 

 ** 15\. "The Story of Tonight (Reprise)" * **

_LAURENS:_

_I may not live to see our glory!_

_MULLIGAN/LAFAYETTE:_

_I may not live to see our glory!_

_LAURENS:_

_But I’ve seen wonders great and small_

_MULLIGAN/LAFAYETTE:_

_I’ve seen wonders great and small_

_LAURENS:_

_‘Cause if a madman can get married_

_MULLIGAN/LAFAYETTE:_

_If America’s Seer can get married—_

_LAURENS:_

_There’s hope for our ass, after all!_

_LAFAYETTE:_

_Raise a glass to freedom_

_LAURENS/MULLIGAN:_

_Hey!_

_Something you will never see again!_

_MULLIGAN:_

_No matter what she tells you_

_LAFAYETTE:_

_Let’s have another round tonight!_

_LAURENS:_

_Raise a glass to the four of us!_

_MULLIGAN/BURR:_

_Ho!_

_LAFAYETTE:_  (slightly annoyed/bitter)

_Though there ought to be one more of us…_

_LAURENS:_

_We’ll tell the story of tonight_

_MULLIGAN:_

_Let’s have another round—_

 

(LAURENS spots HAMILTON as he comes in while everyone else is distracted, smiles and points him out to BURR)

 

_LAURENS:_

_Well, if it isn’t Alexander!_

_BURR:_ (ecstatic)

_Sir!  I didn’t think that you would make it_

_HAMILTON:_

_Wouldn’t miss it_

_MULLIGAN/LAFAYETTE:_ (to each other, sarcastic)

_Sure._

_HAMILTON:_

_I came to say congratulations_

_MULLIGAN:_

_Alex, spit a verse!_

_HAMILTON:_ (happy to see them, but also avoiding answering)

_I see the whole gang is here!_

 

_LAFAYETTE:_

_Alex, you’re the worst!_

_BURR:_

_Ignore them. Congrats to you, Lieutenant Colonel_

_I wish I had your command instead of manning George’s journal_

_HAMILTON:_

_No, you don’t_

_BURR:_

_Yes, I do_

_HAMILTON:_

_Burr, your position’s too high for this_

_You’re too important, we can’t afford to put your life at risk_

_LAFAYETTE:_  (very drunk and not watching what he’s saying)

_Well, I heard_

_You’ve got a secret lover on the side—_

_LAURENS:_ (“Dude, be cool”)

_Shhhhhhhh!_

_BURR:_ (smiles, teasing)

_Is that so? What are you tryin’ to hide?_

_HAMILTON:_

_Nothing!  I should go_

_LAURENS:_

_No, this guy should go_

_LAFAYETTE:_

_What?_

_LAURENS:_

_Leave them alone_

_LAFAYETTE:_

_Man…_

_BURR:_

_It’s alright, sir. I wish you’d brought this girl with you tonight, sir_

_HAMILTON:_

_You’re very kind, but I’m afraid it’s untrue, Burr._

_I have no plans to marry._

_BURR:_

_Really?_

_HAMILTON:_

_I’m content to remain a bachelor_

_BURR:_ (confused)

_Okay…._

_HAMILTON:_ (tries to leave)

_Congrats again—_

_BURR:_ (trying to convince him to stay)

_Alexander. Smile more_

_HAMILTON:_ (actually walks away a few steps)

_I’ll see you on the other side of the war_

(BURR grabs HAMILTON’s hand and pulls him back so they’re standing at (close) conversational distance)

 

_BURR:_

_I will never understand you_

_You can’t stay single forever.  Don’t you want something more?_

(HAMILTON looks at him sadly and walks back so that both their arms are outstretched trying to keep the connection)

_HAMILTON:_

_I’ll see you on the other side of the war_

(HAMILTON steps far enough away that they have to break the connection, BURR lets go of his hand and lets HAMILTON walk away, but drops his arm slowly)

 

_BURR:_

_I’ll see you on the other side of the war_

 

** 16\. "Wait For It" **

(I’m not going to bother writing all the Ensemble bits, that part’s all pretty much the same.  Lyric changes in beginning and some key ones at the end)

 

_BURR:_

**_My dear Eliza writes me a letter every day_ **

**_She fights for women's education at home while I'm away_ **

**_She's met with eyerolls and sighs, the road to progress is long_ **

**_But they're no match for Eliza, she'll prove them all wrong_ **

_Love doesn't discriminate_

_Between the sinners_

_And the saints_

_It takes and it takes and it takes_

_And we keep loving anyway_

_We laugh and we cry_

_And we break_

_And we make our mistakes_

_And if there's a reason I'm by her side_

_When so many have tried_

_Then I'm willing to wait for it_

_I'm willing to wait for it_

_My grandfather was a fire and brimstone preacher_

_But there are things that the homilies and hymns won't teach ya_

_My mother was a genius_

_My father commanded respect_

_When they died they left no instructions_

_Just a legacy to protect_

_Death doesn’t discriminate_

_Between the sinners_

_And the saints_

_It takes and it takes and it takes_

_And we keep living anyway_

_We rise and we fall_

_And we break_

_And we make our mistakes_

_And if there’s a reason I’m still alive_

_When everyone who loves me has died_

_I’m willing to wait for it_

_I’m willing to wait for it_

_Wait for it_

_ENSEMBLE:_

_Wait for it_

_Wait for it_

_Wait for it_

_BURR:_

_I am the one thing in life I can control_

_I am inimitable, I am an original_

_I’m not falling behind or running late_

_I’m not standing still, I am lying in wait_

_ENSEMBLE:_

_Wait_

_Wait_

_Wait_

_BURR:_

_Hamilton faces an endless uphill climb_

_He has something to prove_

_He has nothing to lose_

**_Hamilton’s restless and reckless_ **

**_He wants to shine_ **

_What is it like in his shoes?_

_Hamilton doesn’t hesitate_

_He exhibits no restraint_

_He takes and he takes and he takes_

**_And he keeps wanting anyway_ **

_He changes the game_

_He plays and he raises the stakes_

_And if there’s a reason_

**_He stays alive_** _when so few survive, then Goddamnit,_

_I'm willing to wait for it_

_I'm willing to wait for it..._

_BURR/ENSEMBLE:_

_Life doesn't discriminate_

_Between the sinners and the saints_

_It takes and it takes and it takes_

_And we keep living anyway_

 

_ENSEMBLE:                                                                        BURR:_

_We rise and we fall and we break                                      We rise_

_And we make our mistakes                                               And we fall_

 

_BURR/ENSEMBLE:_

_And if there's a reason I'm still alive_

_When so many have died_

_Then I'm willin' to—_

 

 _BURR & ENSEMBLE:_ (like in the show)

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait for it_

_Wait_

 

** 17\. "Valley Forge" * **

**_ TW: Suicidal thoughts/Suicide mention/Dissociation. _ ** **_This whole thing is written very similarly to a depressive episode, I’ll provide a summary after if you need to skip this one._ **

(dark/dimly lit)

(Chorus doing “oohs” in the background like in the Mixtape)

_HAMILTON:_

_Valley Forge._

_Winter, 1778._

_BURR:_

_I am seeing the best minds of my generation_

_Waste away in pestilence and starvation_

_Is this all a test or have we met our doom?_

_Have we set a camp or parameters for our tomb?_

(some bars added here, pretty much same tune as before)

(all of this is being acted out onstage in purple.  Unlike other times, the purple kind of mixes with the dim yellow light, leaving more of an ambiguous feel, like reality and visions are sort of being blurred together.)

                                                                                       (Fun note here: some of this blocking/choreography is used later, like the blocking for                                                                                           Hamilton’s duel, fights with Madison/Jefferson, etc.)

(Meanwhile some of the stuff happening in yellow is actually happening, like, actual people dying in the present)

_I dream at night that another war is coming_

_Years after our nation is built, it is succumbing_

_To a divide over our ownership of slaves_

_I dream we fight our own brothers to the grave_

_But how can I prevent it when I can’t even save_

_My brothers’ lives in the present from hunger and plague?_

 

(Purple light goes out, and everyone acting out the visions goes still.  Dim yellow light still on, the only ones still moving are the ones acting out the stuff in the present)

 

_HAMILTON:_

_I have never seen my dear Aaron so despondent_

_So I’ve taken over writing all his correspondence_

_I have written Congress and received dishonest responses_

_I am beyond comprehension of their nonsense_

_They say, “Man up! Stop moping and do more!” Pissed off,_

_I shoot back, “Aaron has saved half our forces!”_

(During this part, HAMILTON tries to touch him, shake him out of it, gently turn BURR’s face to his, but BURR is completely out of it/unseeing and doesn’t respond)

_What I don’t say is he’s having nightmares every night again_

_I wish I knew what to do to make him all right again_

(HAMILTON pulls away and steps back a little.  The purple lights come back on and the vision-people start moving faster and more aggressively now.  BURR walks away from HAMILTON without really noticing him, increasingly affected by the visions.)

 

_BURR:_

_Sixty tents full of dysentery, death,_

_Dying breaths, so many have died, I wish I could provide assistance_

(Note: HAMILTON is quietly trying to follow BURR in the background, but the visions keep blocking his way and he has to get around them)

_Increasingly, I find it hard to justify my existence_

_As my abilities meet me with resistance_

_ What’s _ _my life worth if we fall?  We can’t afford to lose this_

_Do I have no power at all?!  I’m fucking useless!_

 

(HAMILTON finally catches up to BURR and puts his hands on his shoulders)

(The visions stop moving, but the purple light is still on the stage.  They look at BURR expectantly.)

 

 _HAMILTON:_ (spoken)

_Aaron, calm down, please_

(BURR makes eye contact with the one of the vision-people, who nods/moves their head as if to say, “Go on, you know what you have to do.”)

(BURR then turns to HAMILTON)

 

_BURR:_

_Alex, listen: there’s only one way for us to win this._

                               (Vision-people line up, everyone else is either still or dead.)

_We’ll line the men up.  I’ll shake their hands._

_I’ll witness all of their deaths firsthand._

_If I see enough combat, then I’ll know_

_I’ll predict how all our battles will go._

_HAMILTON:_

_Aaron, no._

_BURR:_

_We’ll outrun._

_HAMILTON:_

_It can’t be done._

_BURR:_

_We can gain—_

_HAMILTON:_

_Are you insane?_

_You’ll either lose your life or lose control of your brain!_

_BURR:_

_I’m one man, our army’s dying too fast_        (indicates the dead bodies around them)

_I’ve seen too many flags fly half-mast._

_HAMILTON:_ (suddenly determined)

_Me too._

 

_(“Oohs” in the background)_

(HAMILTON goes offstage.  Out from where he exits, WASHINGTON emerges, solemn.)

 

_WASHINGTON:_

_Burr?_

_BURR:_

_Sir?_

_WASHINGTON:_

_Meet me inside._

(stage transition so that they’re inside WASHINGTON’s tent.  Background is still the haunting “Valley Forge” sound, but this is where the rest of the “Meet Me Inside” _rhythm/_ dialogue comes in… sort of.)

 

_WASHINGTON:_

_Son, I would like to apologize for all the pressure._

_I didn’t realize this war would lead to such depression._

_BURR:_

_Sir—_

_WASHINGTON:_

_I don’t want to hear lies, and I don’t want a confession._

_I heard enough to know what I have to do._

_I hereby relieve you, son._

_BURR:_

_Sir, I can’t leave, America needs me._

_WASHINGTON:_

_No.  I refuse to give you the rope for your noose._

_You’re no use to America if you die.  You’ll leave them hopeless._

_BURR:_

_I am more than willing to die—_

_WASHINGTON:_

_Your wife needs you alive,_

_Son, I need you alive!_

(moment of silence except for background)

 

 _WASHINGTON:_ (gathers himself, sighs)

_Go home, Aaron._

_This burden is too much for you to bear, son._

_BURR:_

_I’m not your son._

_CHORUS, last note: Ooooooooooooooooooohhhhhhhhhh_

 

 **_ Valley Forge summary: _ ** **_A bunch of people start dying, Aaron has a vision of the Civil War, loses track of reality, and starts to doubt his abilities and life worth.  Hamilton worries about him and tells Washington when Aaron tries to form a plan that puts his own health in danger.  Washington is very concerned and sends Burr home against his wishes._ **

**_Everyone okay?  Okay.  It gets better after this, I promise._ **

 

** 18\. “That Would Be Enough” * **

(This song is mainly different because it characterizes  _Eliza_ very differently)

 

(Lights take on a much more pleasant, homey feel)

 

_ELIZA:_

_Look around, look around at how lucky we are_

_To be alive right now_

_Look around, look around…_

_BURR:_

_How much do you know?_

_ELIZA:_

_I know enough._

_Aaron, you should have told me._

_BURR:_

_I’m too weak for the General, he told me so._

_ELIZA:_

_No_

_BURR:_

_I’ve already disgraced your home_

_You shouldn’t have chosen me_

_ELIZA:_

_I’m not sorry!_

_ELIZA ( & BURR):_

_I think we both know that the war’s not done_

_(The war’s not done)_

_But remember just how far you’ve come_

_Look around, look around at how lucky we are_

_To be alive right now_

_BURR:_

_Will you relish being a madman’s wife_

_Unable to provide you a normal life?_

_ELIZA:_

_I relish being your wife_

_Look around, look around…_

_Look at where you are_

_Look at where you started_

_The fact that you’re alive is a miracle_

_If you just stayed alive, that would be enough,_

_But if you could_

_Show them the man behind that smile_

_Give them all a piece of your mind,_

_Look out world,_

_That would be enough_

_I don’t pretend to know_

_The challenges you’re facing_

_The worlds you keep erasing and creating in your mind_

_But I’m not afraid_

_I know who I married_

_So long as you speak up, you can still fight for change_

_That will be enough_

_We can both leave a legacy_

_We can do so much, honey_

_If you could share what’s on your mind_

_If you could let me inside your heart…_

_Oh, let me be a part of the narrative_

_Be an example for our nation’s girls_

_Let this moment be the first chapter:_

_Where we could change the world_

_And it could be enough_

_And we could be enough_

_That would be enough_

 

** 19\. “Guns And Ships” **

(some important changes, because HAMILTON needs to be useful in the war, too)

**_HAMILTON:_** (this beginning part is a lot of fun because we assume he means himself at first)

_How does a ragtag volunteer army in need of a shower_

_Somehow defeat a global superpower?_

_How do we emerge victorious from the quagmire?_

_Leave the battlefield waving Betsy Ross’ flag higher?_

_Yo. Turns out we have a secret weapon!_

_An immigrant you know and love who’s unafraid to step in!_

_He’s constantly confusin’, confoundin’ the British henchmen_

_Ev’ryone give it up for America’s favorite fighting Frenchman!_

_COMPANY:_

_Lafayette!_

_LAFAYETTE:_

_I’m takin this horse by the reins makin’_

_Redcoats redder with bloodstains_

_COMPANY:_

_Lafayette!_

_LAFAYETTE:_

_And I’m never gonna stop until I make ‘em_

_Drop and burn ‘em up and scatter their remains, I’m_

_COMPANY:_

_Lafayette!_

_LAFAYETTE:_

**_Like a live wire, I never tire,_ **

**_I fire and hit!_ **

_COMPANY:_

_Lafayette!_

(bars added)

**_LAFAYETTE:_ **

**_I command, take a stand, take more land,_ **

**_ And _ ** **_band together with—_ **

****

**_COMPANY:_ **

**_Hamilton!_ **

****

**_HAMILTON:_ **

**_We get our asses in gear, the clouds clear as we_ **

**_Face the Brits without fear, ‘cause we’re_ **

****

**_COMPANY:_ **

**_Immigrants!_ **

****

**_HAMILTON:_ **

**_It’s our time in the sun, we shine and we run,_ **

**_And when we need more money_ **

****

**_COMPANY:_ **

**_Lafayette!_ **

****

**_HAMILTON:_ **

**_Goes back to France as soon as he gets the chance,_ **

**_But we’re not done yet!_ **

**_COMPANY:_ **

**_Lafayette!_ **

_LAFAYETTE:_

_I go to France for more funds_

_COMPANY:_

_Lafayette!_

_LAFAYETTE:_

_I come back with more_

_LAFAYETTE, **HAMILTON,** AND ENSEMBLE:_

_Guns_

_And ships_

_And so the balance shifts_

**_HAMILTON:_ **

_We rendezvous with Rochambeau, consolidate their gifts_

_LAFAYETTE:_

_We can end this war at Yorktown, cut them off at sea, but_

_For this to succeed, there is someone else we need:_

**_HAMILTON:_ ** **(grim, worried)**

_I know_

**_LAFAYETTE, HAMILTON, AND ENSEMBLE:_ **

**_Aaron Burr!_ **

**(They both go to make their case to WASHINGTON)**

_LAFAYETTE:_

_Sir, he knows what to do in a trench_

_Ingenuitive and fluent in French, I mean—_

**_HAMILTON AND ENSEMBLE:_ **

**_Aaron Burr!_ **

**_HAMILTON:_ **

_Sir, you’re gonna have to use him eventually_

_What’s he gonna do on the bench? I mean—_

**_LAFAYETTE AND ENSEMBLE:_ **

**_Aaron Burr!_ **

_LAFAYETTE:_

_No one has more resilience_

_Or matches **our** practical tactical brilliance—_

**_HAMILTON AND ENSEMBLE:_ **

**_Aaron Burr!_ **

**_HAMILTON_ ** _ & COMPANY_

_You wanna fight for your land back? **(Aaron Burr!)**_

_WASHINGTON & WOMEN:_

_I need my right hand man back! **(Aaron Burr!)**_

**_HAMILTON,_ ** _LAFAYETTE, WOMEN, MEN:_

_Ah! Uh, get ya right hand man back_

_Get your right hand man back!_

**_Aaron Burr!_ **

_You know you gotta get ya right hand man back_

_Your right hand man back!_

**_Aaron Burr!_ **

_I mean you gotta put some thought into the letter_

_But the sooner the better to get your right hand man back!_

**_Aaron Burr, Aaron Burr_ **

_WASHINGTON:_

**_If you’re up for battle, Aaron Burr,_ **

_Troops are waiting in the field for you_

_If you join us right now, together we can turn the tide_

**_You-ou-ou want troops to claim, Aaron Burr?_ **

_I have soldiers that will yield for you_

_If we manage to get this right_

_They’ll surrender by early light_

_The world will never be the same, **Aaron Burr, sir…**_

 

** 20\. “History Has Its Eyes On You” **

****(no changes apart from “who,” lyrics here for context)

 

_[WASHINGTON]_

_I was younger than you are now_

_When I was given my first command_

_I led my men straight into a massacre_

_I witnessed their deaths firsthand_

_I made every mistake_

_And felt the shame rise in me_

_And even now I lie awake_

_[WASHINGTON & LAURENS/MULLIGAN]_

_Knowing history has its eyes on me (Whoa…)_

_Whoa…_

_Whoa…_

_Yeah_

_[ **BURR** /WASHINGTON & COMPANY]_

_History has its eyes on me (Whoa…)_

_Whoa…_

_Whoa…_

_Yeah_

_[WASHINGTON]_

_Let me tell you what I wish I’d known_

_When I was young and dreamed of glory:_

_You have no control:_

_[WASHINGTON AND COMPANY]_

_Who lives, who dies, who tells your story_

_[WASHINGTON]_

_I know that we can win_

_I know that greatness lies in you_

_But remember from here on in_

_[WASHINGTON/ **BURR** AND MEN]_

_History has its_

_Eyes on you_

_[ENSEMBLE]_

_Whoa…_

_Whoa…_

_Whoa…_

_[FULL COMPANY]_

_History has its eyes on you_

 

** 21\. “Yorktown (The World Turned Upside-Down)” **

(some pretty important changes, mostly similar)

 

_COMPANY:_

_The battle of Yorktown._

**_1779_ **

**(HAMILTON, LAFAYETTE, and BURR are all standing in the front chatting)**

_LAFAYETTE:_

**_Monsieur Aaron Burr_ **

**_BURR:_ **

_Monsieur Lafayette_

_LAFAYETTE:_

_In command where you belong_

**_BURR:_ **

_How you say, no sweat_

**_I’m_** _finally on the field!_

**_HAMILTON:_ **

**_Well, we’ve_** _had quite a run_

_LAFAYETTE:_

_Immigrants:_

_HAMILTON/LAFAYETTE:_

_We get the job done_

_HAMILTON:_

_So what happens if we win?_

_LAFAYETTE:_

_I go back to France_

_I bring freedom to my people if I’m given the chance_

_HAMILTON:_ **(BURR looks nervous during this)**

_We’ll be with you when you do_

_LAFAYETTE:_

_Go lead your men_

**_BURR:_ **

_I’ll see you on the other side_

_LAFAYETTE:_

_‘Til we meet again, let’s go!_

_ENSEMBLE:_

_I am not throwin’ away my shot!_

_I am not throwin’ away my shot!_

_Hey yo, I’m just like my country, I’m young_

_Scrappy and hungry_

_And I’m not throwin’ away my shot!_

_I am not throwin’ away my shot!_

_HAMILTON:_

_‘Til the world turns upside down!_

_ENSEMBLE:_

_‘Til the world turns upside down!_

**(purple light)**

**_BURR:_ **

**_I envision death so much it feels more like a memory_ **

_This is where it gets me: on my feet_

_The enemy ahead of me_

_If this is the end of me, at least I have **my friends** with me_

_Weapon in my hand, a command, and my men with me_

**(ELIZA shows up onstage, he turns to her.  Lights go down so there are just two purple spotlights: one for her, one for BURR)**

**_Then I remember Eliza expects me to come back_ **

**_Not only that, there’s still so much to be done_ **

****

**(purple lights come up again on full stage, ELIZA goes away)**

**_To start a new nation, I need to stay alive_ **

**_Gotta come home safe, gotta see my wife!_ **

****

**(lights back to normal)**

_HAMILTON:_

_Take the bullets out your gun!_

_ENSEMBLE:_

_What?_

_HAMILTON:_

_The bullets out your gun!_

_ENSEMBLE:_

_What?_

_HAMILTON:_

_We move under cover and we move as one_

_Through the night, we have one shot to live another day_

_We cannot let a stray gunshot give us away_

**(purple again, slow-moving version of basically what’s about to happen)**

**_BURR:_ **

_We will fight up close, seize the moment and stay in it_

_It’s either that or meet the business end of a bayonet_

_The code word is ‘Rochambeau,’ dig me?_

_ENSEMBLE:_

_Rochambeau!_

**(lights up again)**

**_BURR:_ **

_You have your orders now, go, man, go!_

_HAMILTON:_

_And so the American experiment begins_

_With **our** friends all scattered to the winds_

_Laurens is in South Carolina, redefining brav’ry_

 

_HAMILTON/LAURENS/ **BURR:**_

_We’ll never be free until we end slavery!_

_HAMILTON:_

_When we finally drive the British away_

_Lafayette is there waiting—_

_HAMILTON/LAFAYETTE:_

_In Chesapeake Bay!_

_HAMILTON:_

_How did we know that this plan would work?_

_We had a spy on the inside. That’s right_

_HAMILTON/COMPANY:_

_Hercules Mulligan!_

_MULLIGAN:_

_A tailor spyin’ on the British government!_

_I take their measurements, information and then I smuggle it_

_COMPANY:_

_Up_

_MULLIGAN:_

_To my brother's revolutionary covenant_

_I’m runnin’ with the Sons of Liberty and I am lovin’ it!_

_See, that’s what happens when you up against the ruffians_

_We in the shit now, somebody gotta shovel it!_

_Hercules Mulligan, I need no introduction_

_When you knock me down I get the fuck back up again!_

_COMPANY:_

_Left! Right! Hold!_

_Go!_

_What! What! What!_

_HAMILTON:_

_After a week of fighting, a young man in a red coat stands on a parapet_

_LAFAYETTE:_

_We lower our guns as he frantically waves a white handkerchief_

_MULLIGAN:_

_And just like that, it’s over. We tend to our wounded, we count our dead_

_LAURENS:_

_Black and white soldiers wonder alike if this really means freedom_

_WASHINGTON:_

_Not. Yet_

**_BURR:_ **

_We negotiate the terms of surrender_

_I see George Washington smile_

_We escort their men out of Yorktown_

_They stagger home single file_

_Tens of thousands of people flood the streets_

_There are screams and church bells ringing_

_And as our fallen foes retreat_

_I hear the drinking song they’re singing…_

**(The stage goes purple, BURR wanders through a slow-moving/still-ish stage in wonder)**

_COMPANY:_ (quiet, slowly building)

 _The world turned upside down_   **(HAMILTON notices BURR’s absence and walks over to find him)**

_The world turned upside down_

**(HAMILTON stands in front of BURR and grabs his shoulders.  The lights go up, bright and full, as he pulls him toward the front of the stage with a huge grin)**

_COMPANY:_ (louder, more joyful now)

_The world turned upside down_

**(When they reach front and center, HAMILTON and BURR embrace each other tightly.)**

**(In some versions, one kisses the other on the cheek, and the other is surprised, touching his cheek after* until LAFAYETTE’s part comes in and they quickly face forward as if it didn’t happen.)**

***( _how_ this is played depends on the actors)**

_The world turned upside down_

_Down_

_Down, down, down_

_LAFAYETTE:_

_Freedom for America, freedom for France!_

_COMPANY:_

_Down, down, down_

**_BURR:_ **

**_Gotta come home safe,_ **

**_Gotta see my wife!_ **

_COMPANY:_

_Down, down, down_

**_LAURENS:_ **

**_Freedom!_ **

_MULLIGAN:_

_We won!_

_MULLIGAN/LAFAYETTE/LAURENS:_

_We won!_

_MULLIGAN/LAFAYETTE/LAURENS/HAMILTON/ **BURR** /WASHINGTON:_

_We won!_

_COMPANY:_

_The world turned upside down!_

 

** 22\. “What Comes Next?” **

(literal same)

_[King George]_

_They say_

_The price of my war’s not a price that they’re willing to pay_

_Insane_

_You cheat with the French, now I’m fighting with France and with Spain_

_I’m so blue_

_I thought that we’d made an arrangement_

_When you went away_

_You were mine to subdue_

_Well, even despite our estrangement, I’ve got_

_A small query for you:_

_What comes next?_

_You’ve been freed_

_Do you know how hard it is to lead?_

_You’re on your own_

_Awesome. Wow_

_Do you have a clue what happens now?_

_Oceans rise_

_Empires fall_

_It’s much harder when it’s all your call_

_All alone, across the sea_

_When your people say they hate you_

_Don’t come crawling back to me_

_Da da da dat da dat da da da da ya da da da da_

_Dat dat da ya da!_

_You’re on your own…_

 

** 23\. “Non-Stop” ** **

(Everyone’s changed out of their war clothes.  HAMILTON wears a yellow/beige/cream-colored vest over a white long-sleeved shirt.)

 

_BURR:_

_After the war, I went back to New York_

_HAMILTON:_

_A-After the war, I went back to New York_

_BURR:_

_I finished up my studies and I practiced law_

_HAMILTON:_

_I practiced law, Burr worked next door._

(ELIZA enters, clad in a red dress with matching red lipstick.)

 

 _ELIZA:_ (excited)

_Soon they were insep’rable as partners in crime,_

_And together, Burr and Hamilton began to climb._

_How to account for their rise to the top?_

_Man, these men are_

_ELIZA & ENSEMBLE:_

_Non-stop!_

_HAMILTON:_

_Gentlemen of the jury, I’m curious, bear with me_

_Are you aware that we’re making hist’ry?_

_This is the first murder trial of our brand-new nation_

_The liberty behind_

_Deliberation—_

_ENSEMBLE:_

_Non-stop!_

_HAMILTON:_

_I intend to prove beyond a shadow of a doubt_

_With my assistant counsel—_

_BURR:_

_Co-counsel_

_Hamilton, sit down_

_Our client Levi Weeks is innocent.  Call your first witness._

_That’s all you had to say_

(ENSEMBLE laughs at HAMILTON, which makes him indignant)

_HAMILTON:_

_Okay_

_One more thing:_

(stands up again, addresses the audience)

_Why does he assume he’s the smartest in the room?_

_Why do they assume he’s the smartest in the room?_

(turns to BURR)

_Why do you assume you’re the smartest in the room?_

 

 _BURR:_ (sits him down again)

_Soon that attitude may be our doom_

 

(HAMILTON rolls his eyes)

 

 _ENSEMBLE:_ (mainly asking BURR here)

_Why do you write like you’re running out of time?_

_Write day and night like you’re running out of time?_

_Ev’ry day you fight, like you’re running out of time_

_HAMILTON:_ (resentful)

_Keep on fighting.  In the meantime…_

_ENSEMBLE:_

_Non-stop!_

_BURR:_

_Corruption’s such an old song that we can sing along in harmony_

_It’s rampant among the nation, not just Albany_

_These colonies’ unsavory practice of slavery_

_Will dig their graves.  If they do not emancipate, then they will pay!_

_ENSEMBLE:_

_He’s just non-stop!_

_BURR:_

_I practiced the law, I practic’ly perfected it_

_I’ve seen injustice in the world and I’ve corrected it_

_Now for a strong central democracy_

_If not, then I’ll be Socrates_

_Throwing verbal rocks at these mediocrities_

_HAMILTON:_

_Aaron Burr at the Constitutional Convention!_

_BURR:_

_I was chosen for the Constitutional Convention!_

_HAMILTON:_

_There as a New York junior delegate:_

_BURR:_

_Now what I’m going to say may sound indelicate…_

_HAMILTON ( & ENSEMBLE):_

_He goes and proposes abolishing slavery! (What?)_

_His own plan for abolishing slavery! (What?)_

_A succinct argument for ending this injustice!_

_MADISON:_

_Bright young man…_

_ENSEMBLE MAN:_

_You mean to discuss this?_

_MADISON:_

_Why do you always say what you believe?_

_MADISON & COMPANY:_

_Why do you always say what you believe?_

_MADISON:_

_Every proclamation guarantees_

_Free ammunition for your enemies_

_COMPANY:_

_Why do you write like it’s_

_Going out of style?_

_Write day and night like it’s_

_Going out of style?_

_Ev’ry day you fight like it’s_

_Going out of style_

_Do what you do_

(knock at BURR’s door)

 

 _BURR:_ (confused)

_Madison?_

_MADISON:_

_Aaron Burr, sir._

_BURR:_

_Well, it’s the middle of the night._

_MADISON:_

_Can we confer, sir?_

_BURR:_

_What’s the matter?_

_MADISON:_

_Burr, you know the South’s important to me._

_BURR:_

_Yes._

_MADISON:_

_How important is it that we end slavery?_

_What I mean is, forgive me for being abrasive,_

_But is it at all preventable to have freedom for all races?_

_BURR:_

_No, it’s not._

_MADISON:_

_That’s what I thought._

_In that case, I have a solution._

_A way to get this written into our Constitution._

_BURR:_

_What is it?_

_MADISON:_

_Go to the press about your terrible vision._

_If people protest, that will force the committee’s decision_

(music starts in)

 

_BURR:_

_No._

_MADISON:_

_Hear me out._

_BURR:_

_No way._

_MADISON:_

_We’ll make it look accidental, write a letter to a friend,_

_Leave it on a table, and we’ll release it to the public!_

_BURR:_

_There’ll be riots!_

_MADISON:_

_That’s the point._

_BURR:_

_You can’t be seriously considering violence!_

_MADISON:_

_It’s considerably less than the war you’ve described._

_You’re full of contradictions._

_Here, I’ll add the notes I’ve transcribed._

_We have to start somewhere._

_BURR:_

_No.  No way._

_MADISON:_

_You’re making a mistake._

_BURR:_

_Good night._

(MADISON leaves, but out of nowhere, HAMILTON appears inside BURR’s house in his own purple spotlight)

 

_HAMILTON:_

_Hey!  What are you waiting for?_

_What do you stall for?_

_BURR:_ (very confused, was not expecting a vision just then)

_What?_

 

_HAMILTON:_

_We won the war, what was it all for?_

_Do you want slavery to go on?_

_BURR:_

_Of course not!_

_HAMILTON:_

_Then end it!_

_BURR:_

_And what if we’re doing this all wrong?_

_HAMILTON:_

_Burr, we studied and we fought and we killed_

_For the notion of a nation we now get to build_

_Man up and stand behind your words with pride!_

(as he exits and the spotlight fades)

_I don’t understand how you stand to the side!_

_BURR:_

_I can’t keep all my plans close to my chest_

_ENSEMBLE:_

_Wait for it, wait for it_

_BURR:_

_I can’t wait here and see which way the_

_+ENSEMBLE:_

_Wind will blow_

_They’re taking their time,_

_Debating the fate of our fragile nation_

_I can’t let this tension grow!_

(so this is where it gets interesting: The music transitions to “Your Obedient Servant,” starting with the lead-in about 30 seconds into the song)

 

_BURR:_

_Dear Alexander,_

_I am slow to anger, but I toe the line_

_When the fate of our nation is on the line_

_I have seen much war and death, but none of it so great_

_As the future where we did not emancipate_

_We turned on each other, the bodies piled high_

_Brother fought brother, Alex, I cannot watch more people die_

_I have the honor to be_

_Your obedient servant_

_A. Burr_

(transition to meeting, music now sounds about the same as “Aaron Burr, Sir”)

 

(WASHINGTON’s pissed, emotions are high from anger to worry.  BURR and MADISON are not looking at each other)

 

_WASHINGTON:_

_What is the meaning of this, Aaron Burr, sir?_

_You know you can’t discuss the proceedings that occur_

_With anyone outside this chamber._

_BURR:_

_I’m sorry, sir, for anyone who’s been hurt so far_

_My only aim is to serve_

_WASHINGTON:_

_Well, this is quite a swerve._

_The only question is, how do we proceed?_

_Now the streets are full of protests since the papers spread the word._

_MADISON:_

_How much have the slaves heard?_

(music stops)

 

_WASHINGTON:_

_Repeat that._

_MADISON:_

_How much have the slaves heard,_

_And what do you suppose they’ll do?_

_Will they attack their owners?_

_Will they attack you?_

(music starts in again)

 

_WASHINGTON:_

_Not if we oppose it._

_BURR:_

_Sir, may I propose a solution?_

_A draft for the Constitution._

_We’ll end slavery within twenty-five years._

_Maybe that’ll quell the public’s and the Southern states’ fears_

_WASHINGTON:_

_Well, then I compel you to do it, Burr,_

_Go on, get out of here_

(music changes, that one piano part of Non-Stop)

 

_BURR:_

_Alexander joins forces with James Madison and John Jay to write a series of essays defending the new United States Constitution, entitled The Federalist Papers. The plan was to write a total of twenty-five essays, the work divided evenly among the three men. In the end, they wrote eighty-five essays, in the span of six months._

_John Jay got sick after writing five._

_James Madison wrote twenty-nine._

_Hamilton wrote the other fifty-one!_

_How do you write like you’re running out of time?_

_Write day and night like you’re running out of time?_

_Ev’ry day you fight like you’re running out of time_

_Like you’re running out of time_

_Are you running out of time?_

_FULL COMPANY (EXCEPT HAMILTON):_ (they’re still asking BURR, but he’s asking HAMILTON)

_How do you write like tomorrow won’t arrive?_

_How do you write like you need it to survive?_

_How do you write ev’ry second you’re alive?_

_Ev’ry second you’re alive? Ev’ry second you’re alive?_

(musical transition to Angelica’s motif)

 

_ANGELICA:_

_I am sailing off to London with my wealthy husband to run his business_

_ Now _ _that the world is listening to women, it’s as much mine as his_

_And though I have to leave you, I hope you receive sa tisfaction and bliss_

_My dear Eliza_

_ELIZA:_

_Angelica…_

_ANGELICA:_

_Don’t forget to write_

_ELIZA:_

_Look at where you are_

_Look at where you started_

_You’ve improved so many lives, it’s a miracle_

_Keep up the fight, that would be enough_

_And if your wife could get a glimpse into your mind_

_If I could grant you peace of mind,_

_Would that be enough?_

(musical transition to WASHINGTON’s part, he comes to the door.  ELIZA is a little distance away, HAMILTON comes up behind BURR when WASHINGTON starts singing)

 

_WASHINGTON:_

_They are asking me to lead_

_I’m doing the best I can_

_To get the people that I need_

_I’m asking you to be my right-hand man_

_HAMILTON:_ (impatient, wants WASHINGTON to address him)

_Treasury or State?_

_WASHINGTON:_

_I know it’s a lot to ask_

_HAMILTON:_

_Treasury or State?_

_WASHINGTON:_

_Leave behind the world you know,_

_But Aaron, I need you to run my State department_

_We're negotiating a treaty with France, the boat leaves soon._

_BURR:_ (solemn)

_Let’s go._

(WASHINGTON turns around and leaves without so much as a glance at HAMILTON)

 

_HAMILTON:_

_Sir?_

_Sir!_

 

(HAMILTON realizes he’s been passed over again, is not happy.  Music matches with HAMILTON petulantly storming away)

 

_BURR:_

_Alexander._

(HAMILTON turns)

 

_BURR:_

_I have to leave.  Promise you’ll take care of Eliza._

(HAMILTON turns and takes three more steps away, in time with music)

 

 _BURR:_ (grabs HAMILTON’s arm and pulls him downstage to his side)

_Alexander!_

(ELIZA comes to BURR’s other side and takes his other arm)

 

 _ELIZA:_ (happy for him)  (BURR turns to her)

_Look around, look around at how lucky we are to be alive right now!_

(HAMILTON pulls on his arm, forcing BURR to turn back to him)

 

_HAMILTON:_

_Helpless!_

 

_BURR:_

_They are asking me to lead!_

_ELIZA:_ (BURR turns to her again)

_Look around!_

_You could be enough_

_ANGELICA:_

_He will never be satisfied_

_BURR/ELIZA:_ (depending on the actor, BURR could be looking at her, HAMILTON, or the audience here)

_What would be enough?/This could be enough!_

_ANGELICA:_

_He will never be_

_ELIZA:_

_—To be_

_ANGELICA & ELIZA:_

_Satisfied, satisfied_

_WASHINGTON:_

_History has its eyes on you_

 

(Okay, so the part where everyone’s singing pretty much goes the same, except:

  1. Eliza sings “You could be enough/This could be enough” again, rather than the original lyrics.
  2. Hamilton sings “Why do **they** assume **he’s** the smartest in the room?”
  3. Burr joins Washington the second time in singing, “History has its eyes on,”



but doesn't finish with him because joins Angelica and Eliza to sing...)

 

_ANGELICA, ELIZA, AND BURR:_

_Why do you fight like_

_COMPANY:_

_History has its eyes on you_

(HAMILTON, fed up, breaks his arm away from BURR’s grip and steps in front of everyone, into center spotlight)

 

_HAMILTON & MEN:_

_I am not throwing away my shot (Just you wait!)_

_HAMILTON & FULL COMPANY:_

_I am not throwing away my shot (Just you wait!)_

_HAMILTON:_

_I am_

_+COMPANY:_

_Alexander Hamilton_

_FULL COMPANY:_

_Hamilton, just you wait_

_HAMILTON:_

_I am not throwing away my shot!_

 

**Notes for the Chapter:**

> Act Two should be posted soon! Feel free to ask why I made certain changes/kept certain things the same, or just leave any comments you have in general.


	2. Act Two

**Notes for the Chapter:**

> Hello again! There's a little more deviation here from the original, but still similar in tone.
> 
> Here's the key again for reference:  
> \- no star = few or no changes. Changes are bolded so you can skip to those if you want, if there's nothing different I'll tell you.  
> \- * = some significant changes, mostly still recognizable. Changes not bolded.  
> \- ** = HUGE significant changes (like if most of the lyrics are different) or rearranges. Changes not bolded. (YMMV on what qualifies, but I went with my best judgment)
> 
> Also:  
> * Changing the title of the song automatically warrants at least one star  
> * Sometimes I will bold a transition between lyrics that haven't changed-- because I'm emphasizing what _isn't_ there  
> * Sometimes a lyric doesn't change but the person saying it does, so I'll bold a person's name
> 
> Underlining will be done occasionally in order to show where the emphasis is, mostly as a note to myself so I can remember.

(stage lights up on BURR in a rocking chair with a baby (doll IRL).  There’s a crib behind him.)

 

** 24\. "Dear Philip Jr." * **

("Dear Theodosia")

 

_BURR:_

_Dear Philip Junior,_ _what to say to you_

_You have Eliza's eyes, her father's name_

_When I first held you, I saw how you die,_

_And it broke my heart_

 

_I’m dedicating every day to you_

_Domestic life was never quite my style_

_When you smile, you knock me out, I fall apart_

_And I thought I was so smart_

_You will come of age with our young nation_

_We’ll bleed and fight for you, we’ll make it right for you_

_If we lay a strong enough foundation_

_We’ll pass it on to you, we’ll give the world to you_

_And you’ll blow us all away…_

_Someday, someday_

_Yeah, you’ll blow us all away_

_Someday, someday_

(HAMILTON enters, but stays back a little from BURR and the baby, cautious)

 

(BURR lights up when he sees HAMILTON, hurries over to him holding the child)

_BURR:_

_ A _ _-lexander will you look at your godson?_

_HAMILTON:_ (hesitant)

_Your son_

_BURR:_ (more eager to show him)

_Look at my son. Pride is not the word I’m looking for_

_There is so much more inside me now_

(HAMILTON caves, melts a little as he looks at the baby)

_BURR & HAMILTON:_

_Oh Philip, you outshine the morning sun_

_BURR:_ (offers the baby to HAMILTON)

_My son_

(HAMILTON takes it)

_HAMILTON:_ (could be looking at either one here, with a smile that doesn’t reach his eyes)

_When you smile, I fall apart_

_And I thought I was so smart_

 

(BURR heads away from HAMILTON, both kind of circle around to the crib in opposite directions)

 

_BURR:_

_My father wasn’t around_

_HAMILTON:_

_My father wasn’t around_

_BURR:_

_I swear that_

_+HAMILTON:_

_I’ll be around for you._

(BURR and HAMILTON meet in the middle, behind the crib)

_BURR:_ (reaches for the baby)

_I’ll do whatever it takes_

_HAMILTON:_ (as he’s handing him back)

_I’ll make a million mistakes_

_BURR & HAMILTON:_

_I’ll make the world safe and sound for you…_

_…will come of age with our young nation_ (BURR puts him in the crib, they sing him to sleep together)

_We’ll bleed and fight for you, we’ll make it right for you_

_If we lay a strong enough foundation_

_We’ll pass it on to you, we’ll give the world to you_

_And you’ll blow us all away..._

_Someday, someday_

_Yeah, you’ll blow us all away_

_Someday, someday_

(transition after songs: BURR wheels the crib off and HAMILTON looks after them longingly, just for a second, while the set changes.  Then he turns to the audience and gets back to business for…)

 

** 25\. “What Did I Miss?”**

(Important changes throughout, but I’d still say this is mostly the same)

 

_COMPANY:_

_Seventeen._ _Se- se- seventeen..._

_Se- se- seventeen…_

_HAMILTON:_

**_1787_ **

**_How does the res pected orphan _ **

**_Emancipator, ex pected to run_ **

**_A fter Washington, become affected_ **

**(^quick^)**

**_By an unanticipated rivalry between his friends, get_ **

**(^no room for breath)**

**_Th warted by the son-of-a-whore_ **

**(^very fast^)**

 _ You _ _ready for more yet?_

 

**(indicates himself proudly)**

_Treasury Secretary. Washington’s the President_

_Ev’ry American experiment sets a precedent_

**(MADISON enters and literally shoves HAMILTON out of the way)**

**_MADISON:_ **

_Not so fast. Someone came along to resist him_ **(HAMILTON is looking at the audience like, “Did he just steal my spot?                                                                                                                 You all saw that, right?”)**

 _Pissed him off until we had a two-party system_                             **(MADISON turns to HAMILTON and holds up two fingers, almost as if                                                                                                                    flipping him off)**

**(MADISON turns back to the audience and continues, HAMILTON throws his hands in the air and leaves in a huff)**

****

**_MADISON:_ **

**_So listen up, don't laugh, let's give my man a chance_ **

_‘cause he’s been kickin’ ass **assistin' Lafayette in**  France_

_But someone’s gotta keep the American promise_

_You simply must meet Thomas. Thomas!_

_COMPANY:_

_Thomas Jefferson’s coming home!_

_Thomas Jefferson’s coming home!_

_Thomas Jefferson’s coming home!_

_Thomas Jefferson’s coming home!_

_Thomas Jefferson’s coming home Lord he’s_

_Been off in Paris for so long!_

_Aaa-ooo!_

_Aaa-ooo!_

**(note: The slaves are a lot more rebellious/restless in this, as they’re basically waiting on the freedom they’ve ostensibly been given)**

_JEFFERSON:_

_France is following us to revolution_

_There is no more status quo_

_But the sun comes up_

_And the world still spins_

_ENSEMBLE:_

_Aaa-ooo!_

_JEFFERSON:_ **(not happy)**

**_While I was gone, they wrote this Constitution,_ **

**_Said that slavery’s gotta go!_ ** **(in the background, the slaves respond to this news happily,**

 **_Only twenty-five years to let go_ ** **standing and looking off in the distance dreamily together)**

**(gritted teeth)**

_Now the work at home begins…_

**(JEFFERSON shoots a glare at his slaves, who stop smiling and rush into position to work/aid him)**

_ENSEMBLE:_

_Aaa-ooo!_

**(JEFFERSON smiles smugly, as if to say “That’s better”)**

_JEFFERSON:_

_So what’d I miss?_

_What’d I miss?_

_Virginia, my home sweet home, I wanna give you a kiss_

_I’ve been in Paris meeting lots of different ladies..._

_I guess I basic’lly missed the **mid-** eighties..._

_I traveled the wide, wide world and came back to this…_

_ENSEMBLE:_

_Aaa-ooo!_

_JEFFERSON:_

_There’s a letter on my desk from the President_

_Haven’t even put my bags down yet_

_Sally be a lamb, darlin’, won’tcha open it?_

**(SALLY glowers, takes the letter and slits it open with a letter opener.  When JEFFERSON looks at her, she quickly forces a smile and hands him the letter, then goes back to glaring when he turns away)**

_It says the President’s assembling a cabinet_

**_And that I was elected Senator of this state! Great!_ **

**_I can’t wait to help Virginia improve_ **

_I just got home and now I’m headed up to New York_

_ENSEMBLE:_ **(VERY happy)**

_Headin’ to New York!_

_Headin’ to New York!_

_JEFFERSON & ENSEMBLE:_

_Lookin’ at the rolling fields_

_I can’t believe that we are free (Believe that we are free)_

_Ready to face_

_Whatever’s awaiting_

_Me in N.Y.C. (Me in N.Y.C.)_

_But who’s waitin’ for me when I step in the place?_

_My friend James Madison, red in the face_

_He grabs my arm and_

_I respond_

_“What’s goin’ on?”_

_(Aaa-ooo!)_

_MADISON:_

_Thomas, we are engaged in a battle for our nation’s very soul_

_Can you get us out of the mess we’re in?_

_ENSEMBLE:_

_Aaa-ooo!_

_MADISON:_

_Hamilton’s new financial plan is nothing less_

_Than government control_

_I’ve been fighting for the South alone_

**_JEFFERSON:_ (stops him)**

**(spoken) _Wait._**

**(sung) _Who’s Hamilton?_**

****

**_MADISON:_ **

**(spoken) _The Seer’s right-hand._**

****

**_JEFFERSON:_ (“fml”)**

**(spoken) _Man!_**

_ENSEMBLE:_

_Aaa-ooo!_

_MADISON:_

(sung) _We have to win_

_JEFFERSON & ENSEMBLE:_

_What’d I miss?_

_(Wha? Wha? What’d I miss?)_

_What’d I miss?_

_(I’ve come home to this?)_

_Headfirst into a political abyss!_

_(Headfirst, into the abyss!)_

_I have my first cabinet meeting today_

_(Chick-a-plao!)_

_I guess I better think of something to say_

_I’m already on my way (On my way)_

_To get to the bottom of this… (What did I miss?)_

_Ahhh ah!_

**(WASHINGTON, BURR, and HAMILTON are all standing in a line to shake his hand)**

_WASHINGTON:_

_Mr. Jefferson, welcome home_

**_BURR:_ **

**_Aaron Burr, sir._ **

_HAMILTON:_

_Alexander Hamilton_

_WASHINGTON AND ENSEMBLE:_

_Mr. Jefferson, welcome home_

_COMPANY:_

_Mr. Jefferson, welcome home_

_Sir, you’ve been off in Paris for so long!_

_JEFFERSON:_

_So what did I miss?_

** 26\. “Cabinet Battle #1” ** **

****(This first bit is from "No John Trumbull")

 

(HAMILTON reclaims his spot as narrator.  While HAMILTON heads toward front and center, he gives MADISON a look as MADISON and the rest of the COMPANY go to set up, and sit down in, the circle of chairs for the next number)

 

_HAMILTON & ENSEMBLE:_

_You ever see a painting by John Trumbull?_

_(John Trumbull)_

_Founding fathers in a line, looking all humble_

_(All humble)_

_Patiently waiting to sign a declaration and start a nation_

_No sign of disagreement, not one grumble_

_(One grumble)_

_The reality is messier and richer, kids_

_The reality is not a pretty picture, kids_

_Every cabinet meeting is a full-on rumble_

(HAMILTON heads over to his spot next to BURR.  On “no John Trumbull,” he plops/slides into his chair.)

_What you ‘bout to see is no John Trumbull_

_ENSEMBLE: No John Trumbull_

 

(note: MADISON is sitting on the other side of BURR, JEFFERSON is sitting on the other side of MADISON)

 

(WASHINGTON is standing, at least for the time being)

 

_WASHINGTON:_

_Gentlemen, Vice President John Adams sends his regards_

_He won't be joining us_

_He had to be home in Massachusetts for family reasons_

_MADISON:_

_Tell him to stay home!_

_HAMILTON:_

_He can do the same amount from there!_

(MADISON and HAMILTON high-five each other over BURR’s head, who looks at the audience like he’s on _The Office._   JEFFERSON is watching this interaction looking confused and lowkey jealous)

_WASHINGTON:_

_Alright, alright, settle down!_

_Now..._

_Ladies and gentlemen, you coulda been anywhere in the world tonight, but you’re here with us in New York City. Are you ready for a cabinet meeting???_

_The issue on the table: Secretary Hamilton’s plan to assume state debt and establish a national bank.  Secretary Burr has endorsed this plan and is prepared to speak on his behalf.  The issue is now open for Congress to discuss.  Senator Jefferson, you have the floor, sir_

 

(quick note: BURR and JEFFERSON are the ones standing in front of each other.  WASHINGTON is in the spot where BURR was before, next to HAMILTON)

_JEFFERSON:_

_‘Life, liberty and the pursuit of happiness.’_

_We fought for these ideals; we shouldn’t settle for less_

_These are wise words, enterprising men quote ‘em_

_Don’t act surprised, you guys, cuz I wrote ‘em_

_JEFFERSON/MADISON:_

_Oww_

_JEFFERSON:_

_But Hamilton forgets_

_His plan would have the government assume state’s debts_

_Now, place your bets as to who that benefits:_

_The very seat of government where Hamilton sits_

_HAMILTON:_ (rises a little from his seat)

_Not true!_

(BURR turns to him like, “I got this, calm down,” HAMILTON sits down) 

 

 _JEFFERSON:_ (turns to HAMILTON)

_Ooh, if the shoe fits, wear it_

 

(back to BURR)

_If New York’s in debt—_

_Why should Virginia bear it? Uh! Our debts are paid, I’m afraid_

_Don’t tax the South cuz we got it made in the shade_

_In Virginia, we plant seeds in the ground_

_We create. You just wanna move our money around_

_Look, when Britain taxed our tea, we got frisky_

_Imagine what gon’ happen when you try to tax our whisky_

_WASHINGTON & CROWD:_

_Thank you, Senator Jefferson_

_(That's my alcohol!)_

_Secretary Burr, your response_

(important note about reactions here: when BURR speaks, _everybody_ pays attention.  Some are eager for him to refute, some are resentful of his influence, many are neutral and serious, but _everyone_ is attentive.)

_BURR:_

_Let me start by saying Jefferson’s very smart_

_Such an artful way to say he doesn’t wanna play his part_

_The war was costly, I know that’s something you know nothing about,_

_But I’ll spell it out: Hamilton’s plan will sort everything out_

_Now, I ask for you to try to view from my point of view_

_Try to ask what happens to us if this doesn’t pass?_

(some people in the circle start to worry and look at each other/consider this, JEFFERSON is annoyed that he’s pulling the Seer card, MADISON’s appreciating his opponent like “Ah, very shrewd, playing on their fears.”)

_I must confess, I don’t know, but I know we’ll last_

_As long as we have a national budget, but alas_

(says this bit to the audience like an aside)

_Jefferson might have to pay a little extra for a glass_

 

(most of the people in the circle are on his side here, smiling or laughing appreciatively, JEFFERSON and a few loyal supporters look mad, MADISON actually laughs a little until JEFFERSON gives him a betrayed look, and then he coughs and pretends he didn’t.)

(turns back to JEFFERSON)

_And sir, though I know the burden on your bourbon is a valid concern,_

_Please remember, I know how this plays out,_

_So you can doubt, shout, weasel your way out,_

_Or you can show you’ve learned from slavery,_

_Show me the bravery to think of the benefit long-term_

_BURR:_ (spoken, bitingly polite)

_Your witness._

_JEFFERSON:_

_Burr, that was a real nice little vision_

_Welcome to the present, this is a Congressional decision?_

_Would you like to join us, or keep enter taining_

_The self-indulgent fantasy goin’ on in your brain?_

(during this part is when he sways some people in the circle back to him again, they kind of go, “Wait a second, he’s right, how do we know he’s telling the truth,” while some of BURR’s supporters are mad like, “Do you not know how serious his visions are?”)

_You don’t just get to get your way_

_Just ‘cause you say_

_The plan’s as good as passed, nice try,_

_But the die is not yet cast_

_Now back to the issue at hand:_

_This financial plan is an outrageous demand,_

_And it’s too many damn pages for any man to understand!_

_ And _ _you haven’t given me one good reason to believe in it,_

_So try again, and this time, put some work into achievin’ it?_

_BURR:_ (losing patience)                             (behind him, HAMILTON is losing his patience as well)

_If we assume the debts, the union gets_

_A new line of credit, a financial diuretic_

_How do you not get it? If we’re aggressive and competitive_

_The union gets a boost. You’d rather give it a sedative?_

(HAMILTON goes over and grabs the mic from BURR)

(so now everyone in the circle has this “Okay, what just happened, this can’t be good, what do we do” face, even BURR’s supporters)

(BURR smiles awkwardly trying to reassure them that this is all part of the plan)

 

_HAMILTON:_

_You wanna talk about work? Hey neighbor_

_Your debts are paid cuz you don’t pay for labor_

_“We plant seeds in the South. We create.”_

_Yeah, keep ranting_

_We know who really did all the planting_

 

(BURR appreciates this, some of the circle does too and they’re temporarily reassured)

_And another thing, Mr. Age of Enlightenment_

_Don’t lecture us about the war, you didn’t fight in it_

(slings an arm around BURR)

_You think we’re frightened of you, man?_

_We almost died in the trench_

_While you were off getting high with the French_

 

(BURR’s face is like, “Okay, good job Hamilton, now let me have the mic,” and grabs for it, but HAMILTON pulls away and circles around JEFFERSON)

_Thomas Jefferson, always hesitant with the President_

_Reticent—there isn’t a plan he doesn’t jettison_

(when he turns to MADISON, this is when BURR visibly panics, just for a second before he rushes to HAMILTON to grab the mic from him)

_Madison, you’re mad as a hatter, son, take your medicine_

(HAMILTON holds the mic up high, tilts his head back so he can still be heard, and walks away from BURR, who follows)

_Damn, you’re in worse shape than the national debt is in_

 

(This turns into BURR basically chasing HAMILTON around trying to grab the mic while he runs around the circle shouting his last insults)

(at this point these two have completely lost the crowd, whose heads are just following them in shock)

_Sittin’ there useless as two shits_

_Hey, turn around, bend over, I’ll show you_

_Where my shoe fits_

 

(WASHINGTON stands and blocks HAMILTON, who stops.  BURR stops behind HAMILTON and reaches up for the mic, but WASHINGTON snatches it from HAMILTON instead)

(both of them have this, "Oh shit, we're in trouble" face)

 

_WASHINGTON:_

_Excuse me? Madison, Jefferson, take a walk! Hamilton, take a walk! We’ll reconvene after a brief recess._

_Hamilton, Burr?  A word._

(HAMILTON goes over to talk to WASHINGTON)

(BURR’s going to join him, but MADISON pulls him aside)

_MADISON:_

_You don’t have the votes_

(JEFFERSON appears behind MADISON)

_JEFFERSON/MADISON:_

_You don’t have the votes_

_JEFFERSON:_

_Aha-ha-ha ha!_

(MADISON turns and shoots JEFFERSON a look.  JEFFERSON stops and tones it down.)

(HAMILTON realizes BURR isn’t with him, laughs to himself and goes over to retrieve him)

(MADISON turns back to BURR)

_JEFFERSON/MADISON:_

_You’re gonna need congressional approval and you don’t have the votes_

(HAMILTON slings an arm around BURR again and pulls him over to WASHINGTON, BURR is very annoyed with him because he still wants to talk to MADISON)

_HAMILTON:_

_Such a blunder sometimes it makes me wonder why I even bring the thunder_

(BURR and MADISON share a look)

_BURR/MADISON:_

_Why he even brings the thunder?_

(But MADISON and JEFFERSON exit, and BURR and HAMILTON stand in front of WASHINGTON)

 

_WASHINGTON:_

_You wanna pull yourselves together?_

_HAMILTON:_

_I’m sorry, these Virginians are birds of a feather_

(BURR thinks of something and tries to speak up, but keeps getting interrupted)

 

_WASHINGTON:_

_Young man, I’m from Virginia, so watch your mouth_

_HAMILTON:_

_So we let Congress get held hostage by the South?_

_WASHINGTON:_

_You need the votes_

_HAMILTON:_

_No, we need bold strokes. We need this plan_

_WASHINGTON:_

_No, you need to convince more folks_

_BURR:_ (finally gets a word in)

_James Madison will talk to me, that’s a nice starter_

 

 _WASHINGTON:_ (less exasperated, more fond, gives him a grim smile)

_Ah, winning was easy, young man. Governing’s harder_

_HAMILTON:_

_They’re being intransigent_

_WASHINGTON:_ (annoyed again, trying to be patient)

_You have to find a compromise_

_HAMILTON:_

_But they don’t have a plan, they just hate mine!_

_WASHINGTON:_

_Convince them otherwise_

_HAMILTON:_

_What happens if I don’t get congressional approval?_

_WASHINGTON:_

_I imagine they’ll call for your removal_

(this shocks them both)

 

_BURR:_

_Sir—_

 

_WASHINGTON:_

_Figure it out, Aaron and Alexander. That’s an order from your commander_

 

** 27\. “The Room Where It Happens” * **

(okay, so this whole number’s pretty cool, basically there’s purple light present the whole time, sometimes getting brighter or dimmer or specifically concentrated/spotlighted in one area…

EXCEPT at the end when “ **I** want to be in the room where it happens,” happens)

 

_BURR:_

_Ah, Mister Madison._

_MADISON:_

_Mister Burr, sir_

_BURR:_

_Didja hear the news about good old General Mercer?_

_MADISON:_

_No_

_BURR:_

_You know Clermont Street?_

_MADISON:_

_Yeah_

_BURR:_

_They renamed it after him. The Mercer legacy is secure, sir_

_MADISON:_

_And all he had to do was die_

_BURR:_

_Hey, that’s a lot less work_

_MADISON:_

_We oughta give it a try_

_BURR:_

_Ha!  You know, I still envision that the debt plan succeeds._

_MADISON:_ (skeptical but indulgent)

_Sure._

_BURR:_

_It’ll work as long as Hamilton can listen to me_

_MADISON:_ (surprised, intrigued)

_Really?_

_BURR:_

_“Talk less. Smile more.”_

_MADISON:_ (genuinely appreciative)

_Ha ha!_

_BURR:_

_Do whatever it takes to get his plan on the Congress floor_

_MADISON:_

_You know Jefferson and I won’t show you mercy, though._

_BURR:_ (smiles)

_Well, hate the sin, love the sinner_

_JEFFERSON:_

_Madison!_

_MADISON:_

_I’m sorry Burr, I’ve gotta go_

_BURR:_

_No problem.  Talk to Jefferson.  See if you can arrange a dinner._

(MADISON goes off with JEFFERSON)

 

(BURR goes over to HAMILTON and grabs his shoulders, pulls him _into_ his vision, into the purple light.  Three Ensemble men are acting this out at a table.  (Either through costumes or casting, the men look as similar to HAMILTON, JEFFERSON, and MADISON as possible.)) 

(HAMILTON is kind of overwhelmed/amazed by it, not sure how to react)

_BURR:_ (excited)

_Two Virginians and an immigrant walk into a room_

_BURR AND ENSEMBLE:_

_Diametric’ly opposed, foes_

(BURR turns outward and uses one hand to _show_ him the vision, other hand still on his shoulder)

_BURR:_

_They emerge with a compromise, having opened doors that were_

_BURR AND ENSEMBLE:_

_Previously closed_

_ENSEMBLE:_

_Bros_

(HAMILTON starts to get a little skeptical, “This sounds a little _too_ good, where’s the catch?”)

_BURR:_ (turns to HAMILTON, both hands gesturing to get him excited)

_The immigrant emerges with unprecedented financial power_

_A system he can shape however he wants_

(shrugs)

_The Virginians emerge with the nation’s capital_

 

(HAMILTON smiles like “Ah, there’s the catch”)

(HAMILTON turns to the audience)

 

_HAMILTON:_

_And here’s the pièce de résistance:_

_BURR & ENSEMBLE:_

_No one else was in_

_The room where it happened_

_The room where it happened_

_The room where it happened_

_HAMILTON & ENSEMBLE:_

_No one else is in_

_The room where it happens (The room where it happens)_

_The room where it happens_

_The room where it happens (The room where it happens)_

_BURR & ENSEMBLE:_

_No one really knows how the game is played (Game is played)_

_The art of the trade_

_How the sausage gets made (How the sausage gets made)_

_HAMILTON & ENSEMBLE:_

_We just assume that it happens (Assume that it happens)_

_But no one else is in_

_HAMILTON/BURR & ENSEMBLE:_

_The room where it happens. (The room where it happens.)_

(HAMILTON is narrator again briefly, resentfully acting out everything JEFFERSON says)

_HAMILTON AND COMPANY:_

_Thomas claims—_

_JEFFERSON:_

_Alexander was on Washington’s doorstep one day_

_In distress ‘n disarray_

_HAMILTON AND COMPANY:_

_Thomas claims—_

_JEFFERSON:_

_Alexander said—_

_HAMILTON:_ (looking at the audience like “Can you believe I have to do this?”)

(flat) _I’ve nowhere else to turn._

_JEFFERSON:_

_And basic’ly begged me to join the fray_

_HAMILTON AND COMPANY:_

_Thomas claims—_

_JEFFERSON:_

_I approached Madison and said—_

_“I know you hate ‘im, but let’s hear what he has to say.”_

_HAMILTON AND COMPANY:_

_Thomas claims—_

_JEFFERSON:_

_Well, I arranged the meeting_

_I arranged the menu, the venue, the seating_

 

(HAMILTON looks like he wants to argue, but BURR interrupts first and tries to reassure HAMILTON.  HAMILTON follows his lead instead of speaking out of turn)

_BURR:_

_But!_

_No one else was in—_

_BURR AND COMPANY:_

_The room where it happened_

_The room where it happened_

_The room where it happened_

_HAMILTON:_

_No one else was in—_

_HAMILTON AND COMPANY:_

_The room where it happened_

_The room where it happened_

_The room where it happened_

_BURR & COMPANY:_

_No one really knows how the_

_Parties get to yesssss (Parties get to yesssss)_

_The pieces that are sacrificed in (Ev’ry game of chesssss)_

_Ev’ry game of chesssss_

_HAMILTON & COMPANY:_

_We just assume that it happens (Assume that it happens)_

_But no one else is in_

_HAMILTON/BURR & ENSEMBLE:_

_The room where it happens. (The room where it happens.)_

 

_HAMILTON AND COMPANY:_

_Meanwhile—_

_HAMILTON:_

_I am grappling with the fact that the fate of my own financial plan’s decided for me_

_COMPANY:_

_Meanwhile—_

_HAMILTON:_

_Tensions between Madison and me are growing stronger and a rivalry is forming_

(but he sighs and admits BURR was right)

_But Jefferson approaches with a dinner and invite_

_And Madison responds with Virginian insight:_

_MADISON:_

_Maybe we can solve one problem with another and win a victory for the Southerners, in other words—_

_JEFFERSON:_

_Oh-ho!_

_MADISON:_

_A quid pro quo_

_JEFFERSON:_

_I suppose_

_MADISON:_

_Wouldn’t you like to work a little closer to home?_

_JEFFERSON:_

_Actually, I would_

_MADISON:_

_Well, I propose the Potomac_

_JEFFERSON:_

_And you’ll provide him his votes?_

_MADISON:_

_Well, we’ll see how it goes_

_JEFFERSON:_

_Let’s go_

 

 _HAMILTON:_ (“ughhh why do I have to do this”)

_No…_

_COMPANY:_

_—one else was in_

_The room where it happened_

_The room where it happened_

_The room where it happened_

(HAMILTON reluctantly joins back in, disgusted with the situation)

_HAMILTON & COMPANY:_

_No one else was in_

_The room where it happened_

_The room where it happened_

_The room where it happened_

_HAMILTON:_

_My God!_

_HAMILTON AND COMPANY:_ (HAMILTON looks at BURR)

_In God we trust_

_BURR AND COMPANY:_ (winks at the audience)

_But we’ll never really know what got discussed_

_HAMILTON AND COMPANY:_

_Click-boom then it happened_

_BURR:_ (gives the audience a very charming, canon!Burr-like smirk)

_And no one else was in the room where it happened_

_COMPANY:_

_Secretary Aaron Burr!_

_ENSEMBLE MAN #1:_

_What did you say to the treasurer to get him to compromise and listen?_

_COMPANY:_

_Secretary Aaron Burr!_

_ENSEMBLE MAN #2:_ (HAMILTON is _very_ offended by this)

_Was it really your plan all along,_

_Was the treasurer just following your vision?_

_COMPANY:_

_Secretary Aaron Burr!_

_HAMILTON:_ (smiling bitterly and shaking his head)

_Did you know, even then, it doesn’t matter_

_Where they put the U.S. Capital?_

_BURR:_

_Cuz we’ll have the banks_

_We’re in the same spot_

(“You’re welcome”)

_You got more than you gave_

_HAMILTON:_ (“Fuck you”)

_And I wanted what I got_

_When you got skin in the game, you stay in the game_

(frustrated)

_But you don’t get a win unless you play in the game_

_BURR:_ (musing)

_Oh, you get love for it. You get hate for it_

_HAMILTON:_

_You get nothing if you…_

_HAMILTON AND COMPANY:_

_Wait for it, wait for it, wait!_

(breaks away from BURR and full-on filibusters to the audience)

_HAMILTON:_

_God help and forgive me!_

_I wanna build something that’s gonna outlive me!_

_HAMILTON:                                                                       COMPANY:_

_But I can’t do it without Burr                            (without Burr) (What do you want?)_

_It’s always about Burr                                        (about Burr) (What do you want?)_

_If I don’t have a legacy,                                   (have a legacy) (What do you want?)_

_then what was it all for?                        (then what was it all for?) (What do you want?)_

 

(single (yellow) spotlight on HAMILTON)

 

_HAMILTON:_

_I_

_Wanna be in_

_The room where it happens_

_The room where it happens_

_I_

_Wanna be in_

_The room where it happens_

_The room where it happens_

((yellow) lights slowly spread to the rest of COMPANY, but there’s still a spotlight following HAMILTON when he dances)

_HAMILTON & COMPANY:_

_I, I wanna be in_

_The room where it happens_

_Wanna be (The room where it happens)_

_In the room where it happens (The room where it happens)_

_I (I wanna be in the room)_

_Where it happens_

_I wanna be in the room… (The room where it happens)_

_Oh (The room where it happens)_

_Oh (I wanna be in)_

_The room where it happens_

_I wanna be (The room where it happens)_

_I wanna be (The room where it happens)_

_I’ve got to be (I wanna be in)_

_I’ve got to be (The room where it happens)_

_In that room (The room where it happens)_

_In that big ol’ room (The room where it happens)_

_COMPANY:_

_The art of the compromise—_

_HAMILTON:_

_Hold your nose and close your eyes_

_COMPANY:_

_Ambition grows like a fervent flame—_

_HAMILTON:_

_ Can’t _ _ stop until the world knows my name_

_COMPANY:_

_We dream of a brand-new start—_

_HAMILTON:_

_But we dream in the dark for the most part_

(purple light creeps up and builds when BURR sings…)

 

 _BURR AND COMPANY:_ (BURR slowly raises his hand in warning)

_Dark as a tomb where it happens—_

(…only to go out immediately when HAMILTON starts singing again)

_HAMILTON:_ (throws his hands out in a big cutting motion)

_I’ve got to be in the room…_

_HAMILTON & COMPANY:_

_(The room where it happens)_

_I’ve got to be..._

_(The room where it happens)_

_I’ve got to be..._

_(The room where it happens)_

_Oh, I’ve got to be in_

_The room where it happens… (The room where it happens)_

_I’ve got to be, I’ve gotta be (The room where it happens)_

_I wanna be…_

_In the room! (I wanna be in the room)_

_(Where it happens!)_

_Click-boom! (Click-boom!)_

 

(one last flash of purple on the button, like a gunshot)

 

** 28\. “Take A Break” * **

(ELIZA and PHILIP are in their home, HAMILTON is at his office)

 

_ELIZA & PHILIP:_

_Un deux trois quatre_

_Cinq six sept huit neuf (Un deux trois quatre)_

_(Cinq six sept huit neuf)_

_Good! Un deux trois quatre_

_Cinq six sept huit neuf (Un deux trois quatre)_

_(Cinq six sept huit neuf)_

 

_Sept huit neuf—_

_(Sept huit neuf—)_

_Sept huit neuf—_

_(Sept huit neuf—)_

_ELIZA AND PHILIP:_

_One two three four five six seven eight nine!_

_HAMILTON:_

_My dearest, Eliza_

_“Tomorrow and tomorrow and tomorrow_

_Creeps in this petty pace from day to day”_

_I trust you’ll understand the reference to_

_Another Scottish tragedy without my having to name the play_

_They think me Macbeth, and ambition is my folly_

_I’m a polymath, a pain in the ass, a massive pain_

_Madison is Banquo, Jefferson’s Macduff_

_And Birnam Wood is Congress on its way to Dunsinane_

_HAMILTON/ELIZA:_

_And there you are, a mile away_

_Do you have to live a mile away?_

_Thoughts of you subside_

_Then I get another letter_

_And it keeps me smiling all through the day…_

(BURR interrupts HAMILTON from behind)

_BURR:_

_Take a break_

_HAMILTON:_ (quickly hides the letter in his jacket, smiles at him)

_I am on my way_

_BURR:_

_There’s a little surprise before supper_

_And it cannot wait_

(BURR takes him to the office door, HAMILTON playfully pulls away)

_HAMILTON:_

_I’ll be there in just a minute, save my plate_

_BURR:_

_Alexander—_

_HAMILTON:_ (laughs and puts on his coat to leave, follows him out)

_Okay, okay—_

(as they’re walking together towards the house, BURR chats excitedly)

(ELIZA’s fixing her hair and straightening her clothes)

_BURR:_

_My son is nine years old today_

_He has something that he’d like to say_

(they go inside, everyone’s happy to see each other, ELIZA lights up)

_ELIZA:_

_He’s been practicing all day_

_Philip, take it away—_

(ELIZA beatboxes maternally while PHILIP raps)

_PHILIP:_

_Alexander, look!_

_My name is Philip_

_I am a poet_

_I wrote this poem just_

_To show it_

_And I just turned nine_

_You can write rhymes_

_But you can’t write mine_

_HAMILTON:_

_What!_

_PHILIP & HAMILTON:_

_I practice French_

_And play piano with my mother (Uh-huh!)_

_My father sees the future, has a gift like no other (Okay!)_

_And my godfather star-ted America’s bank!_

_Un deux trois quatre cinq! (Bravo!)_

(BURR takes PHILIP offstage, patting him on the back and leaving ELIZA and HAMILTON alone)

_ELIZA:_

_Take a break_

_HAMILTON:_ (pulls out the letter and gives it to her)

_Hey, our kid is pretty great_

_ELIZA:_ (takes it, folds it, tucks it into her bra)

_Run away with us for the summer_

_Let’s go upstate_

_HAMILTON:_

_Eliza, I’ve got so much on my plate_

_ELIZA:_

_We can all go stay with my father_

_There’s a lake I know…_

_HAMILTON:_

_I know_

_ELIZA:_

_In a nearby park_

_HAMILTON:_

_I’d love to go_

_ELIZA:_ (gets a little closer to him, flirting but also secretive)

_You and I can go when the night gets dark…_

_HAMILTON:_ (wistful)

_I wish I could get away_

(scene transitions to the lake house uptown.  ELIZA takes the letter out and gives it to one of the people moving the set around (like an extra or a backstage person))

_ANGELICA:_

_My dearest little sister,_

_I’m worried about Hamilton_

_That Icarus may have compromised_

_Your integrity_

_Your fav’rite older sister_

_Angelica, reminds you_

_That while I’m in your corner, I’d be blind not to see_

 

(ANGELICA casually turns and retrieves the (opened) letter from one of the background people, they hand it to her very naturally on their way to do other background stuff)

_This letter you left out,_

(ELIZA reaches for it, ANGELICA pulls it up and away from her and gives her a look.

ELIZA is too dignified to keep reaching for it, so she tries to act casual)

_It was from Hamilton,_

(ANGELICA turns back to the letter)

_ANGELICA:_

_I noticed a comma in the middle of a phrase_

(she turns back to ELIZA)

_It changed the meaning._

(angry) _Did he intend this?_

(concerned again) _Does it explain what’s consumed your waking days?_

_It says:_

_HAMILTON/ANGELICA:_

_“My dearest Eliza”_

_ANGELICA:_

_With a comma after “dearest.” He’s written_

_HAMILTON AND ANGELICA:_

_“My dearest, Eliza.”_

(ELIZA’s visibly panicking now, ANGELICA changes tactics and gives the letter to another background person, who exits)

_ANGELICA:_ (takes on a much kinder demeanor)

_Anyway, all this to say_

_I’m glad I’m home this summer, thank you for the invitation_

_You know I love you dearly and I didn’t come to fight_

_I know you love your husband_

_I know that Aaron trusts him,_

_But something about this situation’s not quite right_

_And you don’t want to push him away,_

_But maybe it’d be better that way_

_My dear sister, I have to know, is there something that you’d like to say?_

_ELIZA:_ (hurt)

_Angelica—_

_ANGELICA:_ (“cut the crap”)

_Eliza!_

 

(awkward pause for a minute)

_ANGELICA:_ (tries to be gentle again)

(spoken) _Come on, we’re sisters._

_ELIZA:_

(sung) _Alexander…_ (thinks for a moment about what to say)

(spoken) _Is a dear friend of ours._

 

 _ANGELICA:_ (disappointed)

(spoken) _Well._

(sung) _It’s good to see your face_

(scene transitions back to the BURR house the following year)

(everything goes away except ELIZA, she kind of just stays in the center of it all)

(Meanwhile, BURR and HAMILTON are standing on either side of her, downstage and frustrated with each other.  They both turn to ELIZA)

_BURR:_

_Eliza, tell this man John Adams spends the summer with his family_

_HAMILTON:_

_Eliza, tell this man John Adams doesn’t have a real job anyway_

(ELIZA walks over to BURR’s side to join him)

_ELIZA:_

_…you’re not joining us? Wait_

_HAMILTON:_ (both disappointed that she’s taking his side and sorry that he has to disappoint her)

_I’m afraid I cannot join you upstate_

_ELIZA:_

_Alexander, you’ve come a long way_

(BURR walks over to HAMILTON, trying to reach him.)

 

_BURR:_

_We’ve come all this way—_

(HAMILTON walks away from him and back towards ELIZA)

_ELIZA:_

_All this way—_

(HAMILTON sighs and stops, now _he’s_ standing in the center while BURR and ELIZA are on either side of him)

_BURR AND ELIZA:_

_Take a break_

(BURR and ELIZA turn and move further outward and downstage)

_HAMILTON:_ (turns to ELIZA, begging)

_You know I have to prove myself to Congress_

_BURR AND ELIZA:_

_Run away with us for the summer_

_Let’s go upstate_

_HAMILTON:_ (turns to BURR, frustrated, almost accusing)

_You know there’s no respect for me in Congress_

 

_BURR:                                                                                                                                                         ELIZA:_

_We can all go stay with her father                                                                      We can all go stay with my father_

_There's a lake I know                                                                                                     I know I'll miss your face_

_In a nearby park                                                                                    Screw your courage to the sticking place_

_You and I can go                                                                                                                          Aaron's right—_

 

_Take a break and get away                                                                                                             Take a break_

_Run away with us for the summer_

 

 _BURR AND ELIZA:_ (they turn towards each other and HAMILTON)

_Let's go upstate_

 

                                           (the two slowly head back towards HAMILTON)

_BURR:                                                                                                                                                         ELIZA:_

_Where we can stay                                                                                            We can all go stay with my father_

_If you take your time                                                                                                   Look around, look around_

_You will make your mark                                                                      At how lucky we are to be alive right now_

_Close your eyes and dream_ (they both gently take his arm on either side of him) _We can go_

 

_BURR AND ELIZA:_

_When the night gets dark_

_Take a break_

 

(HAMILTON shrugs his way out of both of their arms, focuses his hands in front of him)

 

_HAMILTON:_

(key altered to fit, much lower)

_I gotta be in the room where it happens…._

_I gotta stay in the room where it happens…._

 

(gently pushes them away, both take a small step back.  HAMILTON turns and walks away, exits upstage center)

 

(they both turn to watch him go, then turn to look at each other helplessly, a hole in between them.  BURR gives ELIZA a small "well, I'm here" smile and offers his arm.  ELIZA gives him a small smile that doesn't reach her eyes, takes his arm, and BURR leads her off to the side.  While they exit, ELIZA looks back longingly in the direction HAMILTON exited)

 

** 29\. “Your Obedient Servant” ** **

(basically Madison tries to talk to Burr the whole time and get through to him, he’s either ignored or outright dismissed)

 

(starts off narrating/monologuing to the audience)

 

_MADISON:_

_How is Hamilton, an arrogant, immigrant, orphan, bastard, whoreson_

_Somehow endorsed by an honorable, methodical man with incomparable power,_

_Gaining more influence by the hour?_

_He wants to be in the_

_MADISON & COMPANY:_

_Room where it happens_

_The room where it happens_

_The room where it happens_

_MADISON:_

_And Burr’s his key to the—_

_MADISON & COMPANY:_

_Room where it happens_

_MADISON:_

_I wonder if he knows…_

(BURR enters the stage and MADISON is eager to talk to him)

(this part sounds more like “Your Obedient Servant— First Draft,” rather than the final version we’re used to, in terms of pacing and keeping the background music pretty much the same)

_Dear Aaron Burr, sir,_

_The nature of our friendship is a puzzle_

_That I enjoy solving every day with you_

_And I’m glad you’re level-headed enough to tussle_

                                    (^very fast^)

(dropped) _with me_

_ Without letting it get in the way_

_That said, I worry your association with Hamilton’s a dangerous game,_

_Furthermore, he ought not to be trusted with the reins of government_

_Now, you I trust but I must warn you, good man,_

                                   (^same note as “must” in first draft)

_Hamilton is surely using you to grab at power_

(BURR finally looks at him)

_BURR:_ (firm, but calm, confident)

(spoken) _No._

(sung) _He’s not capable of such a thing._

(MADISON has to take a breath, but the friendliness is genuine)

 

_MADISON:_

_I have the honor to be_

_Your obedient servant_

_Madison_

(time passes within the next instrument break)

 

_MADISON:_

_Dear Mister Burr,_

_I want to thank you for your opposition with me_

_ To _ _the Alien and Sed ition Acts that_

_Your party man Adams put forth, thanks to your_

                                     (^this whole thing is really fast)

_Sup port, they never made it past the floor_

_The key to cleaning our political chessboard_

_Lies in us, _

_It’s a mess, but_

(this is where BURR starts to pay attention, be a little concerned)

 _ We _ _can keep the peace, if you would please listen to me_

_The fee of treasonous behavior’s more than we can afford_

_BURR:_

(spoken) _Go on._

_MADISON:_

_Listen now,_

(BURR makes an “oh, this again” face)

_Hamilton is overreaching, seizing, leeching_

_Every bit of trust you’ve given him—_

_BURR:_ (warning)

(spoken) _Madison._

_MADISON:_

_Yet you’ve forgiven him_

(spoken) _Why?_

_BURR:_

(sung) (forces a smile) _With all due res pect, sir,_

(drops the smile and stares him down)

_Don’t lecture me on picking friends when you’ve got Jefferson_

_MADISON:_

(spoken) _Fair._

(bites his tongue and forces a smile)

_I have the honor to be_

_Your obedient servant_

_Madison_

(BURR relaxes temporarily)

_Careful how you proceed, good man_

_I strongly suggest you heed, good man_

_Your loyalty will only make him think he owns you,_

_He only wants to feed his greed, good man_

_BURR:_ (fed up)

(spoken) _No.  You know what?  This is my choice._

_And you’ve already made your voice quite clear._

_I won’t discuss this any further._

_If you bring him up again, sir, we’re finished here._

_MADISON:_

(spoken) _Burr!_

(music cuts out)

_BURR:_ (softens a little)

_I like you, Madison._

_But don’t make me choose_

_Because it won’t be you_

_MADISON:_

_Wow._

_BURR:_

_Can we just enjoy each other’s time?_

_MADISON:_

(sighs) _Fine._

(music kicks in again)

(they shake hands)

_MADISON & BURR:_

_I have the honor to be_

_Your obedient servant_

_BURR:_

_Aaron Burr._

_MADISON:_

_Madison._

 

(HAMILTON returns as narrator after they exit)

 

** 30\. “The 1794 Election” ** **

(starts off sounding like "The Adams Administration")

 

_HAMILTON:_

_How does Aaron Burr’s short-tempered_

_Overlooked companion_

_On the cusp of recognition,_

_Blinded by his lust_

_Ardently abuse his best friend’s trust,_

_His only connection?_

_Welcome folks, to_

_HAMILTON & COMPANY:_

_The 1794 (se-ven-teen nine-ty-four) election!_

_HAMILTON:_

_Washington won’t run again, so I throw Burr’s name in the ring_

_Adams was the only choice, but now our party’s bickering_

(ELIZA and BURR are onstage in their home, acting this out)

_Eliza tells him the good news, but little did I know_

_Aaron saw a slightly diff-er-ent way for this to go:_

(whoosh, weirdly empty sound)

(purple light on one part of the stage in front of BURR)

(in the dark, HAMILTON gets handed a gun before he goes into the purple light to act out his bit)

 

_MEN:_

_One, two, three, four_

_FULL COMPANY:_

_Five, six, seven, eight, nine_

_Number ten paces! Fire!_

_HAMILTON:_ (steps into the light)

_I imagine death so much it feels more like a memory_

_Is this where it gets me, on my feet, sev’ral feet ahead of me?_

_I see it coming, do I run or fire my gun or let it be?_

 

_Raise a glass to freedom_

_BURR AND COMPANY:_

_He aims his pistol at the sky—_

_BURR:_

_Wait!_

(Everything goes dark except for his spot with ELIZA)

(Music cuts out)

 

_ELIZA:_

_Aaron, are you all right?_

_BURR:_

_I— I have to find Alexander._

 

(BURR gets up and leaves)

 

** 31\. “One Last Ride” * **

(set changes to office.  HAMILTON is sitting at the desk, BURR is pacing around with one hand over his mouth, trying to figure out what to say)

_BURR:_

_I hope you’re happy_

(puts the hand back over his mouth)

_HAMILTON:_

_I am, and you know what, so should you be, but instead you worry—_

(BURR stops and gives him a withering look)

_BURR:_

_You could have given me a word of warning._

(puts hand back over his mouth and continues pacing)

_HAMILTON:_

_—about something that hasn’t even happened yet!  In case you haven’t noticed, I’m not dead._

 

(BURR stops and turns to HAMILTON with a more sobered expression, puts his hand down)

 

 _HAMILTON:_ (softens and stands)

(sung) _So there’s no need to start mourning._

(HAMILTON goes over to where BURR’s standing, puts his hands behind his shoulders to gently steer him towards the chair in front of the desk)

 

_HAMILTON:_

_Now I must confess,_

_My motives aren’t one hundred percent selfless_

 

(BURR puts a hand up, stiffens, stops.  HAMILTON takes his hands off and holds them up)

 

_BURR:_

_Talk less!_

(HAMILTON decides to make his case to BURR directly, turns to talk in front of him)

 

_HAMILTON:_

_I’m less impressive than you, I won’t win if I run_

_But you?  You can get so much done_

_BURR:_

_Why?_

(spoken) _Imagine the damage you’ll inflict agitating from the inside._

_HAMILTON:_

_You’d rather let Adams win?_

_BURR:_

_Yes!_

_HAMILTON:_

(sung) _I can’t believe you’re trying to run and hide!_

_BURR:_ (grabs his face, frustrated)

(spoken) _I’m trying to keep you alive!_

 

(HAMILTON takes BURR’s wrists and pulls his hands off, then puts his (own) hands up.  BURR steps back.)

_HAMILTON:_

_One last ride!_

(steps forward and makes his hands big like a presentation, steps in front of all the office stuff)

_While I’m in my prime,_

_I'll need you by my side_

_And while we still have time_

_We’re gonna teach ‘em how to say goodbye_

_Say goodbye_

(turns to BURR)

_You and I!_

_BURR:_

_Why now?_

_HAMILTON:_ (annoyed)

_Why not?_

(sung) _Don’t you think Washington wants you to win?_

(BURR steps forward so he’s on the same level as HAMILTON)

_BURR:_

_What Washington wants is an end to partisan fighting, how will this—_

_HAMILTON:_

_Plus of everyone, you’ve got the best approval rating_

(steps toward BURR, almost begging)

_I wanna do something, I’m tired of waiting_

(This is when BURR starts to soften)

(HAMILTON picks up on it and walks to BURR until he’s standing in front of him again)

_Use the reputation you have earned,_

_The world needs your insight, show ‘em what you’ve learned_

_As far as the people are concerned_          (BURR looks out at the crowd, considering)

_You have to serve!_

_You’d be the man they deserve, come on!_

(HAMILTON takes BURR’s hand and pulls him toward him, BURR looks at him and smiles despite himself, lets himself be led)

_HAMILTON:_

_One last ride_

_And if you need assistance,_

(puts the other hand over his (own) chest, greedy grin on his face)

_I’ll be by your side_

(they stop walking)

_BURR:_ (shakes his head, turns to the audience)

_Why can’t I resist him?_

(HAMILTON lets go of his hand, so BURR uses it to make a point with his finger)

_And we can teach ‘em how to say goodbye_

_Say goodbye_

_HAMILTON AND BURR:_

_You and I_

(nudging each other)

_Hey, hey, hey_

(BURR steps out into a center spotlight)

 

_BURR:_

_I never wanted a crown_

_I never wanted to lead_

(turns as HAMILTON joins him in the circle to stand right behind him on his right-hand side)

_But I couldn’t turn my back_

_On a nation in need_

_HAMILTON:_

_Burr, you were born to lead_

 

** 32\. “The New Federalist Candidate” * **

(“Schuyler Defeated”)

(JEFFERSON runs up to MADISON with a newspaper, hysterical.  MADISON’s like, “What now?”)

 

_JEFFERSON:_

_Madison!  Look!_

(shoves the paper in his face)

_Look what this paper says!_

_MADISON:_ (shoves the paper away)

_What?_

_JEFFERSON:_

(sung) _There’s another guy running for president!_

 

 _MADISON:_ (half-heartedly feigning interest)

_I thought you were unopposed._

_JEFFERSON:_

_On our side, but my friend John Adams isn’t!_

_MADISON:_

(spoken) _So?_

(sung) _Won’t that split their party’s votes?_

(spoken) _That’s good, right?_

_JEFFERSON:_

(spoken) _No!_

_MADISON:_

_Simmer down, simmer down,_

_Who is this brand-new candidate for the Fed’ralists?_

(MADISON looks at the paper with JEFFERSON)

_JEFFERSON:_

_Fed’ralists_

_MADISON/JEFFERSON:_

_For president_

_Burr?!/Burr!_

(MADISON is suddenly like “Oh shit,” JEFFERSON’s face is like “I told you it was a big deal”)

_MADISON:_

_I gotta go, I gotta find Aaron Burr now!_

_JEFFERSON:_

(spoken) _Why?!_

(sung) _Are you on his side?_

_MADISON:_

(spoken) _No!_

(sung) _He’s only running because of Alexander—_

(JEFFERSON hits him on the shoulder)

(spoken) _Ow! Hamilton_

(sung) _I’ll convince him to do what’s right_

_JEFFERSON:_

(spoken) _Ha!  Good luck!_

 

(scene transition)

_MADISON:                                                                           JEFFERSON:_

_Coming down, coming down                         Go on down, go on down_

_Gotta meet the                                                                 Go meet the_

 

_MADISON/JEFFERSON:_

_Newest candidate for the_

_MADISON:_

_Fed’ralists_

_JEFFERSON:_

_Fed’ralists_

_MADISON/JEFFERSON:_

_For president_

(scene change complete when MADISON reaches BURR)

_MADISON:_

_Burr!_

_Since when are you running for president?_

_You’ve never wanted power, you’ve always been reticent_

_BURR:_

_Well, Madison, it’s nice to see you, too_

 

_MADISON:_

_Drop the niceties, Burr, I can see through you_

_BURR:_

_Excuse me?!_

_MADISON:_

_I think we both know this was Hamilton’s mission_

_He’s been using you to feed his own ambition—_

_BURR:_

_Right, ‘cause there’s no way I’m running of my own accord!_

(same as the old version with “a-a-a-alcohol”)

_I’m just another piece in your political chessboard!_

_MADISON:_ (hurt)

_Hey!  I’ve always considered you a friend!_

_BURR:_

_I don’t see why that has to end._

_I only ran to seize the opportunity I saw_

_MADISON:_

_ He _ _saw.  Your friendship has blinded you to his flaws_

_BURR:_

_Get out!_

(there’s a beat as both are taken aback by what BURR just said)

 

_MADISON:_

_Very well,_

(music escalates as he storms out, purple light grows as his voice rises)

_but I swear, his pride will be the death of you all!_

_Beware! It goeth before the fall!_

(purple light goes out)

 

** 33\. “Cabinet Battle #2”**

(significant change in the beginning, plus minor changes throughout/different reactions and stuff happening in the background)

 

**(Open on two spotlights: The first is a dim-ish yellow one on WASHINGTON, standing in the center of the circle with the chairs.  One is a purple one on BURR, standing off to the side)**

**(For this first part, the underlined bits are spoken at the same time)**

 

 **_BURR/_** _WASHINGTON:_

_The issue on the table_

_WASHINGTON:_

_France is on the verge of war with England_

**_BURR:_ **

**_France is on the verge of war with itself_ **

_WASHINGTON:_

_And do we provide aid and our troops to our French allies or do we stay out of it?_

**_BURR:_ **

**_We don’t provide aid, the U.S. replies that we stay out of it_ **

_WASHINGTON:_

_Remember, my decision on this matter is not subject to congressional approval_

**_BURR:_ **

**_I’ve discussed this matter with Washington and already received his approval_ **

_WASHINGTON:_

_The only person you have to convince is me_

**_BURR:_ **

**_But we have to convince Congress to concede_ **

****

**(BURR does this next bit alone, spotlight follows him as he walks over to where HAMILTON is standing, then goes out)**

 

 **_BURR:_ ** **(during this part, HAMILTON waves and smiles to the audience)**

 **_And there’s only one person reckless enough to suggest such an unpopular thing._ **

**(BURR pats HAMILTON on the back and sits down behind him)**

**(lights go up on the circle of men, JEFFERSON and HAMILTON standing in front of each other)**

_WASHINGTON:_

**_Senator_ ** _Jefferson, you have the floor, sir_

_JEFFERSON:_

_When we were on death’s door, when we were needy_

_We made a promise, we signed a treaty_

_We needed money and guns and half a chance_

_Who provided those funds?_

 

**(JEFFERSON poses this question to BURR, who is silent.  MADISON, sitting nearby, taps him on the shoulder and smugly answers for him as if to say, “You should know this”)**

_MADISON:_

_France_

_JEFFERSON:_ **(goes back into his thing)**

_In return, they didn’t ask for land_

_Only a promise that we’d lend a hand_

_And stand with them if they fought against oppressors_

_And revolution is messy but now is the time to stand_

_Stand with our brothers as they fight against tyranny_

_I know that Alexander Hamilton is here and he_

_Would rather not have this debate_

**(JEFFERSON sharply turns to BURR on “not” and aims this next bit at him)**

_I’ll remind you that he is not Secretary of State_

_He knows nothing of loyalty_

**_MADISON:_ ** **(glaring at BURR)**

_Nothing._

_JEFFERSON:_ **(attention back on HAMILTON)**

_Smells like new money, dresses like fake royalty_

_Desperate to rise above his station_

_Everything he does betrays the ideals of our nation_

_ENSEMBLE:_

_Ooh!!_

_JEFFERSON:_

_Hey, and if ya don’t know, now ya know, Mr. President_

**(MADISON looks at BURR smugly, BURR has a “just you wait” expression)**

_WASHINGTON:_

_Thank you, **Senator** Jefferson. Secretary Hamilton, your response_

**(HAMILTON hesitates as he is offered the mic, looks at the circle for reassurance, at BURR)**

_ENSEMBLE:_

_Come on./Get him./etc_ _._

****

**_BURR:_ ** **(smiles and nods at him)**

**_Come on._ **

****

**(HAMILTON grins, confident now, turns to his opponent and takes the mic)**

**(During HAMILTON’s bit, people in the circle are actually listening to him, taking him seriously, or even rooting for him.  Some people are still against him, but MADISON looks around and slowly realizes with horror that HAMILTON is now being respected)**

_HAMILTON:_ **(clearly loving the chance to finally speak his mind)**

_You must be out of your Goddamn mind if you think_

_The President is gonna bring the nation to the brink_

_Of meddling in the middle of a military mess_

_A game of chess, where France is Queen and Kingless_

_We signed a treaty with a King whose head is now in a basket_

_Would you like to take it out and ask it?_

_“Should we honor our treaty, King Louis’ head?”_

_“Uh… do whatever you want, I’m super dead.”_

_WASHINGTON:_

_Enough. Hamilton is right_

**(JEFFERSON and MADISON exchange an “oh shit” glance.  This time it’s BURR’s turn to be smug towards MADISON)**

_JEFFERSON:_

_Mr. President—_

_WASHINGTON:_

_We’re too fragile to start another fight_

_JEFFERSON:_

_But sir, do we not fight for freedom?_

_WASHINGTON:_

_Sure, when the French figure out who’s gonna lead ‘em_

_JEFFERSON:_

_The people are leading—_

_WASHINGTON:_

_The people are rioting_

_There’s a difference. Frankly, it’s a little disquieting you would let your ideals blind you to reality_

**_Aaron Burr_ **

**_BURR:_ **

_Sir?_

_WASHINGTON:_

_Draft a statement of neutrality_

**(people start leaving the circle, BURR is about to go off and write the statement, but stops when he hears what JEFFERSON says to HAMILTON, suddenly feeling guilty)**

_JEFFERSON:_

_Did you forget Lafayette?_

_HAMILTON:_

_What?_

**(From upstage of this interaction, BURR considers joining the interaction to defend HAMILTON and starts to walk over)**

_JEFFERSON:_

_Have you an ounce of regret?_

_You accumulate debt, you accumulate power_

_Yet in their hour of need, you forget_

_HAMILTON:_

_Lafayette’s a smart man, he’ll be fine_                                            **(BURR stops)**

_And before he was your friend, he was mine_

**(BURR realizes that HAMILTON can hold his own against JEFFERSON, and now he walks over to proudly support him rather than stop him)**

_If we try to fight in every revolution in the world, we never stop_

_Where do we draw the line?_

**(MADISON, who is standing downstage next to JEFFERSON now, speaks up)**

**_MADISON:_ **

_So quick-witted_

_HAMILTON:_

_Alas, I admit it_

_JEFFERSON:_

_I bet you were quite a lawyer_

_HAMILTON:_

_My defendants got acquitted_

**(BURR is now standing next to HAMILTON, only HAMILTON’s back is turned to him as he’s still talking to JEFFERSON and MADISON.  He doesn’t notice, but they do.)**

**_MADISON:_ ** **(taps JEFFERSON’s arm)**

_Yeah. Well, someone oughta remind you_

_HAMILTON:_

_What?_

_JEFFERSON:_ **(indicates BURR with his head)**

_You’re nothing without **Aaron Burr** behind you_

**(HAMILTON turns and is surprised to see him, indignant about the comment)**

**_BURR:_ ** **(touches his arm, reminds him to calm down)**

_Hamilton._

**(HAMILTON reluctantly complies)**

_JEFFERSON:_

**_Better listen._ **

**(BURR puts an arm around HAMILTON’s shoulders and leads him away.  HAMILTON shoots a smirk at MADISON on his way out.  MADISON watches them go.)**

 

** 34\. “Aaron Burr On Your Side” * **

(“Washington On Your Side”)

_MADISON:_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

_JEFFERSON:_

_Ev’ry action has its equal, opposite reactions_

_Now that Washington’s leaving, the e lections fractured into factions_

                 (^all of this is sung very fast^)

_Try not to crack under the stress, we’re breaking down like fractions_

_We smack each other in the press, and we don’t print retractions_

 

_I get no satisfaction witnessing Hamilton’s fits of passion_

                                     (^also fast^)

_The way he primps and preens and dresses like the pits of fashion_

_Our poorest citizens, our farmers, live ration to ration_

_As Wall Street robs ‘em blind in search of chips to cash in_

 

_This bitch is askin’ for someone to bring him to task_

_Somebody gimme some dirt on this asshole so we can at last unmask him_

_I’ll pull the trigger on him, someone load the gun and cock it_

_While we were all watching, he got America’s Seer in his pocket_

_JEFFERSON AND MADISON:_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

 

_You're never invisible_

_You're never denied_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

_MADISON:_

_I used to write with him, imbibe with him, and ride with him_

_I find myself on this side of a sizable divide with him_

_Now set your sights on a scenario where every Hamiltonian plan is implemented_

_That's where we're headed_

_I’ve tried to veer Aaron Burr back to reason,_

_Away from this dang’rous disgrace, but I’m not gonna waste_

_Any more time on our foolish Seer_

_Still, I fear that wherever Aaron Burr goes from here,_

(beat, instrument drops)

_That bastard Hamilton steers_

_JEFFERSON AND MADISON:_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

_Look back at the Bill of Rights_

_MADISON:_

_Which I wrote_

_JEFFERSON/MADISON:_

_The ink hasn’t dried_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

_MADISON:_

_So he’s doubled the size of the government_

_Wasn’t the trouble with much of our previous government size?_

_JEFFERSON:_

_Look in his eyes!_

_MADISON:_

_See how he lies_

_In wait for power inside the mind of the pied piper_

_JEFFERSON:_

_The viper lying in the grass_

_And taxing the masses, hiding in plain sight_

_MADISON:_

_What’s in sane is he might actually become President!_

_JEFFERSON/MADISON:_

_We can’t let that slide!_

_MADISON:_

_Somebody has to stand up for the South!_

_JEFFERSON:_

_Somebody has to stand up to his mouth!_

_MADISON:_

_If Hamilton’s fire, we’re trying to douse_

_MADISON AND JEFFERSON:_

_We have to look deeper in to the Burr house!_

_MADISON:_

_I’m in the cab’net. I won’t be complicit in_

_Watching him grabbin’ at power and kiss it_

_If Aaron Burr isn’t gon’ listen_

_To disciplined dissidents, this is the difference:_

_This kid is out!_

_MADISON/JEFFERSON:_

_Oh!_

_This immigrant isn’t somebody we chose_

_Oh!_

_This immigrant’s keeping us all on our toes_

_Oh!_

_Let’s show these Federalists who they’re up against!_

_Oh!_

_Southern motherfuckin’ Democratic-Republicans!_

_JEFFERSON/MADISON/ENSEMBLE:_

_Oh!_

_JEFFERSON/MADISON:_

_Let’s follow their history, see where it goes_

_ENSEMBLE:_

_Oh!_

_JEFFERSON/MADISON:_

_Because every second his treachery grows_

_ENSEMBLE:_

_Oh!_

_JEFFERSON/MADISON:_

_If we follow their history, see where it leads_

_Get in the weeds, look for the seeds of_

_Hamilton’s misdeeds_

_JEFFERSON/MADISON:_

_It must be nice. It must be nice_

_MADISON:_

_Follow their history, see where it goes_

_JEFFERSON/MADISON:_

_It must be nice. It must be nice_

_JEFFERSON:_

_The emperor has no clothes_

_JEFFERSON/MADISON:_

_We won’t be invisible. We won’t be denied_

_Still_

_It must be nice, it must be nice to have_

_Aaron Burr on your side_

 

** 35\. “Washington Resigns” * **

(the rest of “One Last Time”)

 

(BURR and WASHINGTON have a moment)

 

_WASHINGTON:_

_Like the scripture says:_

_“Everyone shall sit under their own vine and fig tree_

_And no one shall make them afraid.”_

_They’ll be safe in the nation we’ve made_

_I wanna sit under my own vine and fig tree_

_A moment alone in the shade_

_At home in this nation we’ve made_

_One last time_

_BURR:_

_One last time_

(lights out on WASHINGTON, BURR is with HAMILTON in their office)

 

(lines happen during the instrumental, which is a little longer to fit)

_BURR:_

(spoken) _Washington has asked me to write his farewell address.  But I’ll need your help._

_HAMILTON:_ (surprised, hopeful smile)

_You mean it?_

_BURR:_

_Of course._

(they sit down at the desk together)

_HAMILTON:_

_Though, in reviewing the incidents of my administration, I am unconscious of intentional error, I am nevertheless too sensible of my defects not to think it probable that I may have committed many errors. I shall also carry with me_

_HAMILTON & BURR: _(unison lines bolded)

**_The hope_ **

_That my country will_

**_View them with indulgence;_ **

_And that_

**_After forty-five years of my life dedicated to its service with an upright zeal_ **

_The faults of incompetent abilities will be_

**_Consigned to oblivion, as I myself must soon be to the mansions of rest_ **

(WASHINGTON gets a spotlight and joins in as BURR and HAMILTON are writing this together)

_HAMILTON/BURR/WASHINGTON:_

_I anticipate with pleasing expectation that retreat in which I_

_Promise myself to realize the sweet enjoyment of partaking_

_In the midst of my fellow-citizens, the benign influence of good laws_

_Under a free government, the ever-favorite object of my heart, and the happy reward, as I trust _

                                          (^depending on the production, either BURR or HAMILTON or both will look at the other)

_Of our mutual cares, labors, and dangers_

_WASHINGTON:_

_One last time_

_ALL WOMEN:_

_George Washington’s going home!_

_HAMILTON:_ (to BURR with a smile)

_Teach ‘em how to say goodbye_

_COMPANY:_

_George Washington’s going home_

_BURR:_ (smiling back)

_You and I_

_COMPANY:_

_George Washington’s going home_

_WASHINGTON:_

_Going home_

_COMPANY:_

_George Washington’s going home_

_WASHINGTON:_

_History has its eyes on you_

_COMPANY:_

_George Washington’s going home_

_WASHINGTON & COMPANY:_

_We’re gonna teach ‘em how to_

_Say goodbye! (Teach ‘em how to say goodbye!)_

_Teach ‘em how to (Teach ‘em how!)_

_Say goodbye! (Say goodbye!)_

_To say goodbye! (Say goodbye!)_

_Say goodbye!_

_One last time! (One last time!)_

_Time_

 

** 36\. “Best of Wives and Best of Women” * **

(**IMPORTANT NOTE HERE: So this song actually gets the “Tomorrow There’ll Be More Of Us/Laurens Interlude” treatment, which means it would NOT be on the cast-album version and would only be in the show.  (As such, it’s often nicknamed the “Eliza Interlude” by fans).  On the cast album, the transition is straight from “Washington Resigns” to “We Know.”  Just something to keep in mind.**)

 

(BURR and ELIZA at home, BURR is on his way to work)

 

_ELIZA:_

_Aaron, is there something wrong?_

_BURR:_

_Just election drama, it’ll die down_

_ELIZA:_

_Is it Madison?_

_BURR:_

_Yeah._

_He’s trying to take me and Hamilton down_

_ELIZA:_

_Why do you fight like you’re running out of time?_

_BURR:_

_We’re gonna win.  That will be enough._

_I’ll be back before the end of the day_

_ELIZA:_

_Aaron, talk to me!_

_BURR:_

_There’s nothing to say_

(ELIZA sighs and lets go of her frustration)

_ELIZA:_

_Well, have a good day, anyway_

_BURR:_

_Thanks._ (gives her a peck on the cheek as he leaves)

(turns back to her at the door)

_Hey._

_Best of wives and best of women._

 

** 37\. “We Know” ****

(at work, JEFFERSON and MADISON walk in on BURR and HAMILTON)

 

_BURR:_

_Mister Jefferson._

_Mister Madison._

_MADISON:_

_Secretary Burr._

(deliberately ignores HAMILTON for a beat)

 

 _HAMILTON:_ (realizes he’s been ignored and is that much madder)

_What is this?_

_JEFFERSON:_

_We traced your history, from the day that you met_

_They say that in the war, you slept in the same tent_

_Even after you and Elizabeth Schuyler became one_

_BURR:_ (already trying to lead HAMILTON away)

_Well, if that’s all you have—_

_MADISON:_

_We’re not done._

_You are uniquely situated by virtue of your position_

_JEFFERSON:_

_Though virtue is not a word I’d apply to this situation_

_MADISON:_

_To main tain a pristine image for the fam’lies of this nation_

_JEFFERSON:_

_But the evidence suggests an unsavory consummation_

_JEFFERSON/MADISON:_

_The country’s Seer complicit in a torrid affair!_

_JEFFERSON:_

_So much for fam’ly values, but at least you share_

_MADISON:_

_You’d best make sure your children are at least aware_

_JEFFERSON/MADISON:_

_It’s best they hear before we lay the truth bare!_

_HAMILTON:_

_Ha!  You don’t even know what you’re asking us to confess_

_JEFFERSON/MADISON:_

_Confess_

_HAMILTON:_

_You have nothing, we don’t have to tell you anything at all…_

(looks at BURR, uncertain)

_Unless…_

_BURR:_ (annoyed)

_Madison, tell me what this is about_

_There’s no need to dramatically drag this thing out_

_MADISON:_

_No one else was in the room where it happened_

_BURR:_

_Is that a yes?_

_JEFFERSON/MADISON:_

_Um, yes._

(MADISON takes out the letter and reads, but ELIZA gets a spotlight and is the one actually speaking)

 

(**NOTE: From here on in, the acting varies WILDLY for BURR, HAMILTON, and ELIZA depending on how these actors interpret the situation/their own characters’ feelings about it.  This can significantly change how “ambiguous” the situation and can do a lot to sway the audience one way or another.  But for the purposes of this, I’m going with how I picture the Original Broadway Cast — Lin, Leslie, and Pippa — who play it ambiguously**)

 

_ELIZA:_

_Dear Sir,_

_I hope this letter finds you in good health_

_The fam’ly’s doing fine, but I miss you like hell_

_My husband won’t mind, and since the children are tucked in,_

_I was hoping you’d come over tonight so we can—_

_HAMILTON:_

_Fuuuuuuuuuuu—_

(spotlight on ELIZA cuts out)

 

(HAMILTON is facepalming, BURR has a poker face on but gets increasingly more internally angry)

_MADISON:_

_You incited him, invited him to sleep with your wife_

_And then denied it when I tried to indict him,_

_That’s why you couldn’t quiet him_

_Your wife wanted children, but you couldn’t provide her them_

_So you tied her to Hamilton_

(beat/breather)

 

(During this next bit, MADISON looks increasingly more paranoid and shows them more papers, BURR and HAMILTON are just like, “Holy shit,” and even JEFFERSON is a little taken aback)

_As you can see, I kept track of ev-e-ry birthdate in your fam’ly history_

_You wer-en’t there for half of these conceptions, but consistently,_

_Hamilton was.  So sirs, the jig is up!_

_You never had a kid that wasn’t his—_

_BURR:_

_That’s enough!_

(BURR rips the letter from MADISON, then takes the ripped part that MADISON’s still holding as well, and rips all of the letter into tiny little pieces as he says this next bit)

_Madison, I have to say I’m ashamed_

_I never thought you’d stoop so low as to sully my wife’s name!_

_This is slander, you’ll be lucky if I don’t take legal action!_

_You want a confession?  I’m afraid you’ll get no satisfaction._

_JEFFERSON:_

_My God._

_MADISON:_ (disappointed)

_Jefferson, let’s go._

(they exit.  HAMILTON turns to BURR, desperate)

 

_HAMILTON:_

_So?_

_BURR:_ (turns to him, measured and calm again)

_The people don’t know what we know_

(spoken) _We’ll deny it unilaterally.  We can’t afford to be paranoid._

_If we burn all the letters, they’ll dismiss it as a tabloid._

_That way, they can’t use it against us the next time we go toe to toe_

_HAMILTON:_ (unsure)

_But Burr, rumors only grow_

(sung) _And they both know what they know._

 

** 38\. “Burn” ** **

(ELIZA is alone onstage, holding a letter.  On one side of her is a full-length mirror, on the other side is the candle/lantern thing they use for the fire)

(I'm glossing over the actual fire part because I'm not sure how it works in the show?)

 

_ELIZA:_

_I saved every letter you wrote me_

_For the moment I read them,_

_I knew you were mine_

_Though you wer-en’t mine_

_I’d pretend you were mine_

_Do you know what Angelica said_

_When she figured out what we’d done?_

_She said, “That man is an Icarus._

_He has led you too close to the sun.”_

_You and your words flooded my senses_

_Your sentences left me defenseless_

_You built me palaces out of paragraphs_

_You built cathedrals_

_I’d reread all the letters you wrote me_

_I’d search them and scan them for answers, for some kind of sign_

_That your heart was mine_

_Because when you were mine_

_The world seemed to burn_

_Burn_

_They’ll publish the letters I wrote you_

_They’ll tell the whole world how we brought this man into our bed_

_In smearing your name,_

_They will ruin our lives_

_Do you know what everybody will say_

_When your enemies lay us low?_

(key modified to fit)

_They’ll say, “She should’ve said no to this,”_

_But how could I have said no to this?_

_We couldn’t let you go_

_I thought, “Nobody needs to know”_

_You could never be satisfied_

_And now your enemies will never be satisfied_

_Doesn’t matter if I live a perfect life_

_They’ll say the Seer’s wife_

_Was never satisfied_ (drag this last note out)

 

(sung sort of like “First Burn,” moves around more on the “burns” here, hits high notes, like panicking)

_They want us to burn_

_Want us to burn_

(quiet as the realization slowly dawns on her)

_Oh God, what will the children say_

_When they learn who they are?_

_Will they question our love for them?_

_This arrangement has gone too far_

(turns to the mirror, angry)

_Eliza, you fool, obsessed with your fantasy_

_You’re no schoolgirl and you are not helpless_

_These men have changed the world and your main concern is_

_How it perceives you_

(pointing)

_You, you, you_

(puts a hand up and turns away from the mirror, slowly lowers her shaking arm)

 

(looks at the letter again)

_I languished in love in this marriage for years,_

_I lived only to read your letters_

_I look at you and think, “God, what have we done with our lives,_

_And what did it get us?”_

(determined now)

_That doesn’t wipe the tears or the years away,_

_But the children deserve better than to learn this way,_

_So you know what I’m going to do?_

_I’m erasing myself from the narrative_

_Let future historians wonder_

_If Eliza was slandered_

_When they said Alexander_

_Hamilton stole her heart_

_I will throw it all away_

_Stand back, watch it_

(sung more like canon “Burn”)

_Burn_

_Watch it all_

_Burn_

_The world has no right to our hearts!_

_The world has no right to our kids!_

_They don’t get to know what we did!_

_I’m burning the memories_

_Burning the letters_

_That showed love between us_

 

(more vulnerable/upset, shouts this out to whoever will listen, aimed more at the audience/God)

_I forfeit all rights to his heart!_

_He’ll sleep in his office instead!_

_I’ll live without him in my bed_

_With only the memories of when he was mine_

(ELIZA’s face is anguish during the long note, gathers herself and breathes during the instrumental bit)

 

(sad but with quiet determination)

_I’ll let my heart_

_Burn_

 

** 39\. “The Burrs’ Secret” * **

(“The Reynolds Pamphlet”)

 

(JEFFERSON and MADISON are in the center with JAMES CALLENDER (if double-cast, played by the actor for Charles Lee). 

Off in the upstage corner, there’s a spotlight on the BURRs and HAMILTON, who are still like a picture: BURR is standing to the side, ELIZA in the middle next to BURR, with her hand outstretched to HAMILTON standing a few feet away.  HAMILTON is bent over to kiss her hand.)

 

_COMPANY:_

_The Burrs’ Secret!_

_Have you read this?_

_JEFFERSON/MADISON:_

_Alexander Hamilton had a torrid affair_

_An exposé by James Callender!_

_CALLENDER:_

_Highlights!_

_COMPANY (EXCEPT HAMILTON/ELIZA/BURR):_

_It is well-known the connection one Aaron Burr_

_Has with Alexander Hamilton, a confirmed bachelor_

_But Hamilton’s real crime is an amorous connection with Burr’s wife_

_For a considerable time with his knowing consent_

_(Damn!)_

_He had frequent meetings with her,_

_Most of them at the Burr house_

_ENSEMBLE MAN #1:_

_At the Burr house?_

_ENSEMBLE MAN #2:_

_At the Burr house!_

_DEEP VOICE:_

_Damn!_

_COMPANY:_

_What’s more, Mister Hamilton is Burr’s children’s biological father_

_MAN:_

_No!_

_COMPANY:_

_Boooo!_

_(Have you read this?)_

_JEFFERSON:_

_Well, he’s never gon’ be President now_

_MADISON:_ (more ashamed but resigned, like “welp, I chose do this,” almost mumbling)

_Never gon’ be President now_

_JEFFERSON:_

_Never gon’ be President now_

_MADISON:_

_Never gon’ be President now_

_(x2)_

_JEFFERSON:_

_That’s one less thing to worry about_

_JEFFERSON/MADISON:_

_That’s one less thing to worry about!_

(ANGELICA enters from the opposite side of the stage as the BURRs and HAMILTON and is desperate to reach them)

_ANGELICA:_

_I came as soon as I heard_

_JEFFERSON:_

_What?!_

(BURR, ELIZA, and HAMILTON drop the picture pose, meaning Eliza drops her hand and faces forward, Hamilton stands up and faces forward.  All of them are now unfrozen but in a neutral standing position)

_BURR:_

_Angelica—_

_COMPANY:_

_All the way from London?!_

_Damn_

(JEFFERSON intercepts ANGELICA, puts his arm around her, and takes her center downstage with CALLENDER and COMPANY following like hungry journalists)

_JEFFERSON:_

_Angelica, darling, we would love to get a statement from you today_

_ANGELICA:_ (gives him this death glare)

_Here’s what I’ve got to say_

_ENSEMBLE:_

_Oooooh!_

_ANGELICA:_ (puts on her “talking to the media” face and puts her hands together like praying)

_I know my sister like I know my own mind,_

_You will never find anyone as hon’rable or kind_

(COMPANY disperses as they realize she’s not going to say anything interesting)

 

(ANGELICA increasingly shows her anger, shoves JEFFERSON away, and heads towards her family)

_I love my sister more than anything in this life,_

_And I’ll protect my fam-i-ly from your prying, every time_

(stands in front of ELIZA and BURR and puts her arms out in front of them like a literal shield)

_I will not feed this fight_

_I’m standing at their side_

_You could never be satisfied_

(turns to HAMILTON, who shrinks a little/looks ashamed)

_God, I hope you’re satisfied_

(in the background, when ANGELICA’s done with her note, she takes ELIZA’s hand and leads her offstage, BURR turns back to HAMILTON, goes over and puts an arm on his back, ushers him offstage.  They’re all off by “one less thing to worry about.”)

_COMPANY:_

_Never gon’ be President now_

_(Never gon’ be President now)_

_(x3)_

_That’s one less thing to worry about_

_That's one less thing to worry about_

_Oo-oo-ooh!_

_And I heard he’s the so-on of a whore, too-oo-oo!_

(CALLENDER excitedly writes this down)

_Oo-oo-ooh!_

_And Hamilton’s mother is a whore, too-oo-oo!_

_FULL COMPANY:_

_That’s one less thing to worry about!_

_The Burrs’ secret!_

_Have you read this?_

_You ever see somebody whore out their own wife?_

_What a time to be alive!_

 

** 40\. “Let It Go” ***

(HAMILTON and BURR are in their office.  HAMILTON is at the desk, BURR is standing a little distance away.  HAMILTON sees a newspaper with the headline **“ALEXANDER HAMILTON: SON OF A WHORE (James Callender Tells All)”** and slams it on his desk)

 

 _HAMILTON:_ (BURR turns)

_What in the hell is this?_

(HAMILTON picks up a pen, BURR runs to his side)

 

 _BURR:_ (takes the pen out of his hand and sets it on the desk)

_What in the hell are you doing? Put that down!_

_HAMILTON:_ (stands up)

_Don’t you know what James Callender said against my mother_

_To humiliate me and try to bring us down?_

(starts forward, getting more animated, on his tangent, BURR following nervously)

_I will not let my family be embarrassed like this_

_I'll grab a pen and paper, let the whole world know_

_You swing at my family you better not miss_

_You better have another punch to throw_

(BURR grabs his shoulders from behind.  HAMILTON tenses)

_BURR:_

_You could let it go_

_Stay alive for me_

(takes his hands off, but makes his point.  HAMILTON slowly, reluctantly calms down)

_Let it go_

_Live to fight another day_

_People will always be critical_

_They'll make the personal political_

_They'll try to knock us off our pedestal, our pinnacle_

_Let other people be cynical_

_Let it go_

 

_Now I know you’re angry, but you know I’m right_

_HAMILTON:_ (bitter)

_Ha!_

_BURR:_

_And you know if Eliza were here, she would tell you the same thing_

_HAMILTON:_

_Well, Eliza’s not here—_

(ELIZA comes to the door with a soft knock)

 _ELIZA:_ (gently)

_I heard about Callender_

_You didn't kill him did you?_

_BURR:_

_Now will you listen this time?_

_ELIZA:_

_Let it go_

_Stay alive for me_

(ELIZA still does the high part, BURR does the low part)

_BURR/ELIZA:_

_Let it go_

_ELIZA:_

_Let it slide right by_

_BURR:_

_Let it slide right by_

_BURR:_

_You don't have to bring a gun to a knife fight_

_It's not a case of your money or your life, right?_

_HAMILTON:_

_You know they’re talkin’ ‘bout me sleeping with your wife, right?_

(BURR’s face is annoyed in a tired way)

_BURR:_

_I know_

_ELIZA:_ (annoyed as well, to HAMILTON)

_Let it go_

(BURR aggressively smiles for the crowd and moves forward towards the ENSEMBLE congratulating him)

_BURR:_

_Talk less!_

_ENSEMBLE:_

_Burr!_

_BURR:_

_Smile more!_

_ENSEMBLE:_

_Burr!_

_BURR:_

_Don’t let them know what you’re against or what you’re for!_

_ENSEMBLE:_

_Burr!_

_BURR:_ (forcefully grabs the person’s hand and shakes it firmly)

_Shake hands with him!_

_ENSEMBLE:_

_Burr!_

_BURR:_ (with his other hand, does a finger-gun at a woman on his other side)

_Charm her!_

_ENSEMBLE:_

_Ladies and gentlemen, Fed’ralist candidate Aaron Burr!_

(BURR forces a laugh with the crowd, then switches gears as he goes back to HAMILTON)

_ELIZA:_

_Ooooh_

_BURR:_

_Let everybody know_

_You can take a body blow_

_Let everybody know_

_You can learn to let it go_

_ELIZA:_ (more concerned/pleading, but still frustrated)

_Look around, look around at how_

_Lucky you are to be alive right now_

_BURR & ENSEMBLE:_

_Let everybody know_

_You can take a body blow_

_Let everybody know_

_You can take a body blow_

_Let everybody know_

_You can take a body blow_

_Let everybody know_

_You can take a body blow_

_ELIZA:_

_Look around, look around at how_

_Lucky you are to be alive right now_

_BURR:_

_If somebody tries to lay you low_

_LITERALLY EVERYONE (EXCEPT HAMILTON):_

_Let it go_

 

(everyone exits except for HAMILTON, leaving him alone on stage)

 

** 41\. “Hurricane” **

(a few important changes at the end)

_HAMILTON:_

_In the eye of a hurricane_

_There is quiet_

_For just a moment_

_A yellow sky_

_When I was seventeen a hurricane_

_Destroyed my town_

_I didn’t drown_

_I couldn’t seem to die_

_I wrote my way out_

_Wrote everything down far as I could see_

_I wrote my way out_

_I looked up and the town had its eyes on me_

_They passed a plate around_

_Total strangers_

_Moved to kindness by my story_

_Raised enough for me to book passage on a_

_Ship that was New York bound…_

_I wrote my way out of hell_

_I wrote my way to revolution_

_I was louder than the crack in the bell_

_I wrote Eliza love letters until she fell_

_I wrote about The Constitution and defended it well_

_And in the face of ignorance and resistance_

_I wrote financial systems into existence_

_And when my prayers to God were met with indifference_

_I picked up a pen, I wrote my own deliverance_

_In the eye of a hurricane_

_There is quiet_

_For just a moment_

_A yellow sky_

_I was twelve when my mother died_

_She was holding me_

_We were sick and she was holding me_

_I couldn’t seem to die_

 

**(As HAMILTON’s about to write a letter, there’s a spotlight to the right of him, on BURR)**

****

**_BURR:_ **

**_Or you could let it go_ **

****

**_HAMILTON:_ ** **(looking at him)**

**_My friend would tell me not to set foot on a dueling ground_ **

****

**(on HAMILTON’s left, spotlight on ELIZA)**

**_ELIZA:_ **

**_Wait for it, wait for it, wait for it, wait_ **

****

**(COMPANY also joining in here “Or you could let it go/Wait for it”)**

**_HAMILTON:_ ** **(steps forward in front of the desk, a large box in his hands)**

**_The enemies I’ve made won’t have anything on you now_ **

****

**_COMPANY:_ **

**_Wait for it/Let it go_ **

****

**(lights slowly fade out on BURR and ELIZA as he makes up his mind)**

**(HAMILTON kneels to the ground and opens the box, inside of which is a gun.  During this next part, he takes the gun out and kind of caresses the side of his face with it)**

****

**_HAMILTON:_ **

**_I imagine death so much it feels more like a memory_ **

**(determined, stands up with the gun)**

_This is the eye of the hurricane_

_This is the only way I can protect my legacy_

****

**(charges offstage holding the gun in the air)**

_COMPANY (EXCEPT HAMILTON):_

_Wait for it, wait for it, wait for it, wait…_

 

** 42\. “It Feels More Like A Memory” ****

(“The World Was Wide Enough”)

 

(the whole thing is lit up like a vision, with BURR and HAMILTON standing across from each other.  The only exception is that HAMILTON is standing in a yellow spotlight, everywhere else is purple)

 

_MEN:_

_One, two, three, four_

_FULL COMPANY:_

_Five, six, seven, eight, nine…_

_BURR/HAMILTON:_

_There are ten things you need to know._

_COMPANY:_

_Number one!_

_HAMILTON:_

_Before we got in the boat to cross the Hudson_

_I stopped to write a note_

_Actually, I wrote—_

_HAMILTON & COMPANY:_

_Two!_

_BURR:_

_Hamilton arrived with his crew_

_Nathaniel Pendleton and a doctor that he knew_

_COMPANY:_

_Number three!_

_BURR:_

_I watched Hamilton examine the terrain_

_I wish I could tell you what was happening in his brain_

_Just let it go, we have worthier pursuits!_

_COMPANY:_

_Most disputes die and no one shoots!_

_Number four!_

_BURR:_

_Hamilton drew first position_

_Looking, to the world, like a man on a mission_

_This is a soldier with a marksman's ability_

_The doctor turned around so he could have deniability_

_COMPANY:_

_Five!_

_HAMILTON:_

_Now, I didn’t know this at the time,_

_But we were—_

_BURR:                                HAMILTON:_

_In the same spot                 In the same spot_

_I saw you die                      He saw me die_

_Is that why                          Is that why_

_COMPANY:_

_Six!_

_BURR:_

_He examined his gun with such rigor?_

_I watched as he methodically fiddled with the trigger_

_COMPANY:_

_Seven!_

_HAMILTON:_

_Eliza is still asleep_

_I left her a letter, I could’ve written it better_

 

_COMPANY:_

_Number eight!_

_BURR/HAMILTON/ENSEMBLE MEN:_

_Your last chance to negotiate_

_Send in your seconds, see if they can set the record straight_

_BURR:_

_They won’t teach you this in your classes_

_But look it up, Hamilton was wearing his glasses_

_Why?!_

_HAMILTON:_

_I think of Aaron, I wish I could see his face_

_I’ve brought his home so much disgrace_

_He's always hated dueling, hated confrontation_

_I never had his instinct for self-preservation_

_God help and forgive me_

_If I die here and now, will you try to outlive me?_

_COMPANY:_

_Number nine!_

_BURR:_

_Look him in the eye, aim no higher_

_Summon all the courage you require_

_Then count:_

_COMPANY:_

_One two three four five six seven eight nine_

_BURR AND COMPANY:_

_He aims his pistol at the sky—_

_BURR:_

_Wait!_

(there’s a quick change, everything goes dark except for a large yellow spotlight on BURR, he sort of breathes like he’s just emerged from a nightmare)

 

(doctor rushes in)

 

_DOCTOR:_

(spoken) _Mister Burr, sir, Alexander Hamilton has just been shot in a duel with James Callender._

(piano part comes in)

_DOCTOR/BURR:_

_It struck him right between his ribs_

(scene changing, a bed gets rolled out in one corner of the stage with a Hamilton stunt double (probably an understudy) sitting up, while _our_ HAMILTON is standing in a spotlight some distance away, the same blanket wrapped around him sort of like a robe (that way he can actually act during this part and isn’t just stuck on the bed).  BURR goes over to the bed and holds his (the double’s) hand, sort of angled upstage a bit so he can face both Bed!Hamilton and Standing-Monologue!Hamilton)

 

_BURR:_

_I hurry to see Hamilton right away_

_I am ushered to his deathbed_

_Alexander smiles_

(music cuts out)

 

(HAMILTON alternates facing the audience and facing BURR during this part, slowly moving farther and farther away from BURR physically on the stage as he gets closer and closer to death, his spotlight following him as he does)

 

_HAMILTON:_

_I imagine death so much it feels more like a memory_

(smiles sadly like he knows)

_Is this where it gets me?_

_There is no beat, no melody_

_Burr, my best friend, my legacy_

_Maybe the last face I ever see_

_Is this how you’ll remember me?_

_Legacy, what is a legacy?_

_It’s planting seeds in a garden you never get to see_

_I wrote some notes at the beginning of a song someone will sing for me_

_America, you great unfinished symphony, you sent for me_

_You let me make a difference_

_A place where even orphan immigrants_

_Can leave their fingerprints and rise up_

_I’m running out of time. I’m running, and my time’s up_

_Wise up. Eyes up_

_I catch a glimpse of the other side_

_My mother’s on the other side_

_Burr, I don’t think I’m ready for the other side_

_I’m afraid of the other side_

_Aaron,_

_Do you think she’ll be ashamed of me?_

_BURR:_ (broken)

_No._

_HAMILTON:_

_I guess I’ll find out soon enough_

_Have I done enough?_

_Was I ever enough?_

_Will this be enough?_

_Teach me how to say goodbye_

_Rise up, rise up, rise up_

_Eliza!_ (he says this as ELIZA enters and joins BURR at his bedside)

 

(HAMILTON is looking at them both fondly from a distance)

 

_My love, take your time_

_I’ll see you on the other side_

(faces the audience)

_Raise a glass to freedom_

(spotlight starts to go dark on “freedom,” HAMILTON fades to black)

_BURR:_ (quiet, broken)

_Wait…_

(music comes in again)

_COMPANY:_

_Ahhhh-ahhh-ahhhh_

_BURR:_ (stands up, devastated)

 _He sinks back into the sheets_ (bed is wheeled off)

_Goes like the ocean after a tide_

_They say that_

_BURR/ELIZA:_

_Aaron Burr and Eliza_

_BURR:_

_Were both at his side when he died_

(moving downstage during this)

_Death doesn’t discriminate_

_Between the sinners and the saints_

_It takes and it takes and it takes_

_History obliterates_

_In every picture it paints_

_It paints him in all his mistakes_

_When Alexander aimed_

_At the sky_

_He may have been the first one to die_

_But I’m the one who paid for it_

_I survived, but I paid for it_

(in a different spot, spotlight on HAMILTON again, far away, dressed in all white)

_HAMILTON:_

_Now I’m the villain in your history_

_I was too young and blind to see..._

_BURR:_

_I should’ve known_

_I should’ve known_

_The world was cruel enough to rip Hamilton from me_

_The world was cruel enough to rip Hamilton from me_

 

** 43\. “It’s Quiet Uptown” **

(small but important changes throughout, especially in the middle)

 

_ANGELICA:_

_There are moments that the words don’t reach_

_There is suffering too terrible to name_

_You **keep your family as close** as you can_

_And push away the unimaginable_

_The moments when you’re in so deep_

_It feels easier to just swim down_

_ANGELICA/ENSEMBLE:_

_The **Burr fam’ly moves** uptown_

_And **learns** to live with the unimaginable_

**_BURR:_ **

_I spend hours in the garden_

_I walk alone to the store_

**_And it’s quiet up here_ **

**_My mind has never been quiet before_ **

_I take the children to church on Sunday_

_A sign of the cross at the door_

_And I pray_

_That never used to happen before_

_ANGELICA AND WOMEN:_

_If you see him in the street,_

_Walking by himself_

_Talking to himself, have pity_

**_BURR:_ **

**_Alexander, I like it uptown_ **

_It’s quiet uptown_

_ANGELICA AND WOMEN:_

_He is working through the unimaginable_

_ALL MEN (EXCEPT **BURR** ):_

_His hair has gone grey. He passes every day_

_They say he walks the length of the city_

**_BURR:_ ** **(same melody as in “Aaron Burr, Sir”, key modified to fit)**

**_Fools who run their mouths off wind up dead_ **

_COMPANY (EXCEPT **BURR** AND ELIZA):_

_Can you imagine?_

**_ELIZA:_ **

_Look at where we are_

_Look at where we started_

**_The fact that you’re alive is a miracle_ **

**_Just stay alive, that would be enough_ **

_If I could **save** his life_

_If I could **somehow turn back time**_

_He’d be standing here right now_

_And you would smile, and that would be enough_

**(^during this last line^, ELIZA gently turns BURR’s face to hers, but BURR is completely out of it/unseeing and doesn’t respond)**

**(drops her hands and backs off a little)**

_I don’t pretend to know_

_The challenges we’re facing_

_I know there’s no replacing what we’ve lost_

_And you need time_

**(gentle, but determined, reasserts herself at his side)**

_But I’m not afraid_

_I know who I married_

_Just let me stay here by your side_

_That would be enough_

_COMPANY (EXCEPT **BURR** AND ELIZA):_

_If you see **her** in the street, _

_Walking by **his** side_

_Talking by **his** side, have pity_

**(during these two bits, BURR is _slightly_ more responsive, if half-hearted)**

**_ELIZA:_ **

**_Aaron,_** _do you like it uptown?_

_It’s quiet uptown_

_COMPANY (EXCEPT **BURR** AND ELIZA):_

**_She_ ** _is trying to do the unimaginable_

_See them walking in the park, long after dark_

_Taking in the sights of the city_

**_ELIZA:_ **

_Look around, look around, **my Aaron**_

_COMPANY (EXCEPT **BURR** AND ELIZA):_

_They are trying to do the unimaginable_

_ANGELICA:_

_There are moments that the words don’t reach_

**_There are people that will never be the same_ **

_We push away what we can never understand_

_We push away the unimaginable_

_They are standing in the garden_

**_Eliza by Aaron’s side_ **

**_He takes her hand_ **

**_BURR:_ **

_It’s quiet uptown_

**(they look at each other)**

_COMPANY (EXCEPT **BURR** AND ELIZA):_

**_He opens up_ **

_Can you imagine?_

**_ELIZA:_ **

**(spoken) _You know,_**

**(sung) _You were always enough_**

****

**(This is what makes BURR lose it.  He cries into ELIZA’s shoulder, she holds him close, her face is both sad along with him and grateful that he’s letting her comfort him)**

****

_COMPANY (EXCEPT **BURR** AND ELIZA):_

_Can you imagine?_

_If you see him in the street,_

_Walking by her side,_

_Talking by her side, have pity_

_They are going through the unimaginable_

 

** 44\. “Blow Us All Away” **

(some differences to add ambiguity, plus necessary changes in the middle)

_PHILIP:_

_Meet the latest graduate of King’s College!_

_I prob’ly shouldn’t brag, but, dag, I amaze and astonish!_

**_I learned to read Latin in my mother’s lap in the den_ **

**_I hope that my degree can make my parents happy again_ **

_I’m only nineteen but my mind is older_

_Gotta be my own man, like my father, but bolder_

_I shoulder his legacy with pride_

_I used to hear him say_

_That someday_

_I would—_

_ENSEMBLE:_

_Blow us all away_

_PHILIP:_

_Ladies, I’m lookin for a Mr. George Eacker_

_Made a speech last week, our Fourth of July speaker_

_He disparaged my father’s legacy in front of a crowd_

_I can’t have that, I’m making my father proud_

_MARTHA:_

_I saw him just up Broadway a couple of blocks_

_He was goin’ to see a play_

_PHILIP:_

_Well, I’ll go visit his box_

_DOLLY:_

_God, you’re a fox_

_PHILIP:_

_And y’all look pretty good in ya’ frocks_

_How ‘bout when I get back, we all strip down to our socks?_

_BOTH:_

_Ok!_

_COMPANY:_

_Blow us all away!_

_PHILIP:_

_George!_

_GEORGE:_

_Shh_

_PHILIP:_

_George!_

_GEORGE:_

_Shh! I’m tryin’ to watch the show!_

_PHILIP:_

_Ya’ shoulda watched your mouth before you_

_Talked about my father though!_

_GEORGE:_

_I didn’t say anything that wasn’t true_

_Your father’s a scoundrel, and so, it seems, are you_

_ENSEMBLE:_

_Ooooooooooh!_

_PHILIP:_

_It’s like that?_

_GEORGE:_

_Yeah, I don’t fool around_

_I’m not your little schoolboy friends_

_PHILIP:_

_See you on the dueling ground_

_That is, unless you wanna step outside and go now_

_GEORGE:_

_I know where to find you,_

_Piss off, I’m watchin’ this show now_

_Shh_

**(PHILIP goes home to JOHN CHURCH (if double-cast, played by the actor for Evan Edwards))**

**_PHILIP:_ **

**_Uncle John, he was talking shit like you wouldn’t believe!_ **

**_Auntjelica wouldn’t take it, and I bet you wouldn’t either!_ **

****

**_JOHN CHURCH:_ **

_Slow down._

**_PHILIP:_ **

**_I know my father always told me not to duel,_ **

**_So I’m asking if you’ll help me, they don’t cover this in boarding school_ **

**_JOHN CHURCH:_ **

_Did your friends attempt to negotiate a peace?_

_PHILIP:_

_He refused to apologize, we had to let the peace talks cease_

**_JOHN CHURCH:_ **

_Where is this happening?_

_PHILIP:_

_Across the river, in Jersey_

**_JOHN CHURCH_** _/PHILIP:_

_Everything is legal in New Jersey…_

**_PHILIP:_ **

**_But look, I have a plan, here’s how I’m gonna do the deed_ **

_Stand there like a man until Eacker is in front of **me**_

**_I’ll arrive there and I’ll try to keep my cool,_ **

**_Then I’ll fire my gun in the air, then it’s not a duel, see?_ **

**_JOHN CHURCH:_ **

_But what if he decides to shoot? Then **you’re** a goner_

**_PHILIP:_ **

_No. He’ll follow suit if he’s truly a man of honor_

**_I have to follow through, it’s too late to back down._ **

**_It’s what Alexander would do—_ **

****

**_JOHN CHURCH:_ ** **(snaps, worried)**

**_Well, that’s why he’s not around._ **

****

**_PHILIP:_ **

**_Uncle John, please, our family’s reputation can’t take another hit_ **

**_If it were Auntjelica they were hatin’, would you quit?_ **

****

**_JOHN CHURCH:_ **

**_Alright, fine, but_ ** _come back home when you’re done_

_Take my guns. Be smart. Make **them** proud, son_

_PHILIP:_

_My name is Philip_

_I am a poet_

_I’m a little nervous, but I can’t show it_

**_My family will understand when I bring them pride_ **

_You talk about my father, I cannot let it slide_

_Mister Eacker! How was the rest of your show?_

_GEORGE:_

_I’d rather skip the pleasantries_

_Let’s go_

_Grab your pistol_

_PHILIP:_

_Confer with your men_

_The duel will commence after we count to ten_

_ENSEMBLE:_

_Count to ten!_

_PHILIP:_

_Look ‘em in the eye, aim no higher_

_Summon all the courage you require_

_Then slowly and clearly aim your gun towards the sky—_

_MALE ENSEMBLE:_

_One two three four_

_FULL ENSEMBLE:_

_Five six seven—_

 

** 45\. “Stay Alive (Reprise)” **

(small changes during father/son part)

 

_ENSEMBLE WOMAN SOLO:_

_Stay alive..._

 

_ENSEMBLE WOMEN:_

_Stay alive..._

 

**_BURR:_ **

_Where is my son?_

_DOCTOR:_

**_Mr. Burr,_ ** _come in. They brought him in a half an hour ago. He lost a lot of blood on the way over_

**_BURR:_ **

_Is he alive?_

_DOCTOR:_

_Yes. But you have to understand_

_The bullet entered just above his hip and_

_Lodged in his right arm_

**_BURR:_ **

_Can I see him please?_

_DOCTOR:_

_I’m doing ev’rything I can, but the wound was_

_Already infected when he arrived—_

**_BURR:_ **

_Philip_

_PHILIP:_

**(spoken) _Pa.  I’m sorry._**

**_I should have listened to what you said, Pop._ **

**_I never meant to make you cry._ **

**_BURR & PHILIP:_ **

_I know, I know. Shh_

_I know, I know (I—)_

_Shh. I know_

**_You were trying to make things right_ **

**_PHILIP & BURR:_ **

**_I thought it wouldn’t count if I_ ** _(Shh)_

 **_Aimed my gun up at the sky_ ** _(I know, I know)_

**_Pops, do you think I’m gonna die?_ **

**_BURR:_ ** **(louder, more upset)**

**_I don’t know_ **

_Save your strength and stay alive_

_ENSEMBLE MEN:_

_Stay alive..._

_ELIZA:_

_No!_

**_BURR:_ **

_Eliza_

_ELIZA & ENSEMBLE MEN:_

_Is he breathing? Is he going to survive this? (Stay alive...)_

_ELIZA:_

_Who did this? **Aaron,** did you know?_

_PHILIP:_

_Mom, I’m so sorry for forgetting what you taught me_

_ELIZA:_

_My son—_

_PHILIP:_

_We played piano_

_ELIZA:_

_I taught you piano_

_PHILIP:_

_You would put your hands on mine_

_ELIZA:_

_You changed the melody every time_

_PHILIP:_

_Ha. I would always change the line_

_ELIZA:_

_Shh. I know, I know_

_PHILIP:_

_I would always change the line_

_ELIZA:_

_I know, I know_

_ELIZA & PHILIP:_

_Un deux trois quatre (Un deux trois quatre)_

_Cinq six sept huit neuf (Cinq six sept huit neuf)_

_Good_

_Un deux trois quatre_

_Cinq six sept_

_(Un deux trois…)_

_Huit neuf_

_Sept huit neuf—_

_Sept huit…_

 

** 46\. “Who Lives, Who Dies, Who Tells Your Story” * **

_WASHINGTON:_

_Let me tell you what I wish I’d known_

_When I was young and dreamed of glory:_

_You have no control:_

_WASHINGTON AND COMPANY:_

_Who lives, who dies, who tells your story._

_HAMILTON:_

_Senator Jefferson._

_JEFFERSON:_

_I’ll give them this: Burr and Hamilton’s legacy is a work of genius.  I couldn’t undo it if I tried.  And I tried._

_COMPANY:_

_Who lives, who dies, who tells your story?_

_HAMILTON:_

_President Madison._

_MADISON:_

_They kept our country strong in the face of adversity.  I hate to admit it, but they were such a force to be reckoned with, even their reckoning couldn’t force them apart._

_COMPANY:_

_Who lives, who dies, who tells your story?_

_ANGELICA:_

_Some people don’t get justice until after they’ve died_

_Never see the tears the people who misjudged them have cried_

_HAMILTON:_

_But when you’re gone, who remembers your name?_

_Who keeps your flame?_

_HAMILTON AND MEN:_

_Who tells your story?_

_Who tells your story?_

_ANGELICA AND WOMEN:_

_Who tells your story?_

_Your story?_

_WOMEN:_

_Eliza_

_ELIZA:_

_I put myself back in the narrative_

_MEN:_

_But Aaron_

_ELIZA:_

_But Aaron Burr’s future is bleak_

_He only lives another fifteen weeks_

_It’s not enough_

_COMPANY:_

_And Laurens_

_LAURENS:_

_They gain support from every soldier who fought by their side_

_MULLIGAN/LAFAYETTE:_

_We tell our story_

_BURR:_

_I try to find you in your thousands of pages of writings_

_I dream of you when the night gets dark, and I know I’m running out of—_

                                                                 (^quick^)

_BURR & COMPANY:_

_Time_

_BURR:_

_I rely on_

_BURR/ELIZA/WOMEN:_ (“Eliza” motif)

_Eliza_

_ELIZA:_

_While he’s alive,_

_BURR/ELIZA:_

_We tell your story_

_ELIZA/ANGELICA:_ (“Angelica” motif)

_Angelica_

_ELIZA:_

_And John Church help us from nearby_

_BURR/ELIZA:_

_When I needed her most, she was right on—_

_BURR/ELIZA & COMPANY:_

_Time_

_BURR:_

_And I think of you_

_Could I have prevented you from being taken before your—_

_BURR & COMPANY:_

_Time?_

(during this next part, PHILIP comes up to HAMILTON (both are in white) and they embrace.  Then they pull away and smile at each other, HAMILTON pats him on the back, PHILIP smiles and runs back into the ENSEMBLE like he’s going out to play, HAMILTON fondly watches him go)

_BURR:_ (earnest)

_Are you taking care of Philip?_

_Are you the father that he always wanted?_

_I’m running out of—_

_BURR & COMPANY:_

_Time_

(During this part, HAMILTON stands in a statue pose)

 

_ELIZA:_

_They carved your face into a bust in Boston_

_BURR:_

_It doesn’t tell your story_

_ELIZA:_ (blocked so that she’s caught between them both again, addressing both of them here)

 _But monuments couldn’t capture your poetry_ (HAMILTON goes back to neutral)

_You could have done so much more if you only had—_

_ELIZA & COMPANY:_

_Time_

_BURR:                                                                 ELIZA:_

_And when my time is up,                                   And when your time is up,_

_Have we done enough?                                     Have we done enough?_

_BURR/ELIZA:                                                      COMPANY:_

_Will they tell our story?                                      Will they tell your story?_

(Important note for blocking here: HAMILTON is standing at the very front corner on the stage.  BURR and ELIZA are standing in the middle)

 

_BURR:_

_Oh._

_Can I show you what I’m proudest of?_

_COMPANY:_

_The orphanage_

(ELIZA takes BURR’s arm and leads him to the front corner on the opposite side of HAMILTON during this)

 

_BURR/ELIZA:_

_We established the first private orphanage in New York City_

_COMPANY:_

_The orphanage_

_ELIZA:_

_I helped raise hundreds of children_

_I get to see them growing up_

_COMPANY:_

_The orphanage_

_BURR:_ (looks longingly in HAMILTON’s direction)

_In their eyes I see you, Alexander_

_I see you every—_

_BURR & COMPANY:_

_Time_

_BURR:_

_And when my time is up_

_Have I done enough?_

_BURR:                                                                   COMPANY:_

_Will they tell your story?                                      Will they tell our story?_

_BURR:_

_Oh, I can’t wait to see you again_

_It’s only a matter of—_

 

(Okay, so here’s how the staging goes for this:

 **IN THE FRONT** : BURR slowly wanders to the other side of the stage, towards HAMILTON, like he’s lost in a vision.  HAMILTON looks at him with this bittersweet smile, like he’s expecting him.  BURR and ELIZA hold hands until he’s pulled so far from her that they have to let go, ELIZA drops her arm slowly and watches him leave her with a helpless expression on her face.

 

 **EVERYONE ELSE** : forms a nebulous clump formation that flows like waves, some people are holding blue sheets and waving them to give the full effect.  The COMPANY slowly moves towards the front of the stage, but kind of ebbs back every few steps like an impeding tidal wave.

 

 **LIGHTS** : are both purple and blue, but gradually the purple fades and the blue gets stronger as his death becomes a reality)

_BURR & COMPANY:_   (COMPANY moves forward)

_Time_

_COMPANY:_

(moving backward)

_Will they tell your story?_

(forward)

_Time_

_Who lives,_

(backward)

_Who dies, who tells your story?_

(forward)

_Time_

_Will they_

(backward)

_tell your story?_

(BURR finally reaches HAMILTON, who takes his hand)

 

(The front-most part of the COMPANY reaches the front of the stage during these last steps forward.  As they do, they circle their arms up, forward, and down, grab hands with each other and take the hands of HAMILTON, BURR, and ELIZA on the word “dies”)

_COMPANY:_

_Time_

_Who lives, who dies,_

(ENTIRE COMPANY pulls back in unison, leaving the front of the stage empty)

_Who tells your story?_


End file.
